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S T I T I I I E I T 





Frankfurt Book Fair 2000. 

Theo Gielen 
The Netherlands 

Although we have visited Frankfurt for half a lifetime 
already, we remark every year how in October the fair- 
fever rises once we see the fair tower, the skyscraper that 
dominates the skyline long before reaching the city. We 
also develop a rising temperature when we enter one of 
the enormous halls where the publishers and packagers 
have just days before arranged their stands to show all the 
new books, projects, and dummies that we come to see. 
We are well prepared. Having read the special editions of 
The Bookseller, The Publisher 's Weekly, the Borsenblatt 
and Livres Hebdo we are informed about the new 
children's books to come this fall, and we have our list of 
appointments made from home. Nevertheless we feel 
seized with a nervous curiosity about the surprises as still 
hidden in the stands lined up in many rows in every hall. 

With fresh courage we plan to start systematically, at 
Row A stand number l . But we didn't expect to meet our 
host. For on our way to row A, at literally the second stand 
we passed, we are stopped by Mr. Waldo Hunt, the 
amiable Chairman of Intervisual Books, Inc. He cannot 
wait to show us what he thinks is this year's highlight 
from Intervisual's new books: a text-less (and only at the 
very last moment was it decided to print a title on the 
spine) and almost colorless pop-up book issued in a blank 
slipcase: The Polar Bear, 'bitten" and illustrated by a 
certain Rives. In spread after spread we follow the 
footprints, done in a wonderful greyish blue holographic 
foil underneath the cut steps, from his snow cave into the 
white world that surrounds him. We are frightened when 
at a turn of the page, the ice cracks and opens to show the 
deep blue waters below. Only the last spread shows the ice 
bear standing beside the direction post that on both its left 
and right sides points to the south pole. Looking back after 
the five days at the fair, this first book we saw proved to be 
one of its gems. 

Before Mr. Hunt had a chance to hand us all the other 
new titles on display, we took the opportunity to 
congratulate him on receiving both the special award from 
the Bologna Children's Book Fair last spring 

Continued on page 9 

Pop (Up) Music 

Adie C. Pena 

Makati City, the Philippines 

Until 23-year old Alex Steinweiss designed an album 
cover for "Smash Song Hits by Rodgers and Hart" in 1938, 
recorded music always came in plain brown wrappers. His 
simple idea of protecting the record (and, more 
importantly, creating a visual on the outside to attract the 
music aficionado) revolutionized the entire music 
marketing industry and gave birth to a new field involving 
art directors, illustrators, photographers, typographers 
(and, in some instances, paper engineers) - plus, needless 
to say, writers responsible for those deferential 
(obsequious?) liner notes and essays. Little did he know 
that his stroke of genius would make life a little more 
interesting for some of us - rabid collectors who believe 
that the package is sometimes even more important than 
the music it contains, specially if it features a movable on 
the cover or a pop-up within the gatefold. 

So how many three-dimensional music packages are 
out there? As 1 stated during my talk at the 3rd Movable 
Book Society conference in New York, a lot. But only a 
small number worth acquiring. If it's any consolation to 
the would-be collector, the following musical formats were 
only invented in the last half of the 20th Century: the 
long-playing record (LP) in 1948; the portable cassette 
player in 1963; and the compact disc (CD) in 1981-82. 
Hence, there are only a few must-haves. 

For packaging in the Children's Music Category, the 
two Hallmark series ("Listen and Play" [1969] and 
"Raggedy Ann And Andy" [1974]) and the set of five (5) 
"Disneyrama" LPs [1963] immediately come to mind. 
While MBS members are very familiar with the pop-up 
packages I've just mentioned, there are five (5) LP records 
[1958-1971] with movable covers issued by Playhouse 
Records worth adding to one's collection. From Jim Copp 
and Ed Brown are: "Jim Copp Tales" [1958] with a 
revolving cartoon wheel on the cover; "(A Journey to San 
Francisco with) The Glups" [1963] with gameboard, 
spinner and punch-out pieces; "Gumdrop Follies" [1964] 
with pop-up toy theater and punch-out props; "Jim Copp 
and Ed Brown's Schoolmates" [1968] with pop-up 
schoolroom and transformation slats blackboard; 

Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $20.00. For more 
information contact Ann Montanaro, The Movable 
Book Society, P.O. Box 1 1654, New Brunswick, New 
Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is May 15. 

Continued from page 1 

and "The Sea of Glup" [ 1 97 1 ] with gameboard, spinner 
and punch-out pieces. (Sealed copies of both "Glup" 
LPs [inventory codes PH-606 and PH-909, respectively] 
are still available from Ted Leyhe at Playhouse Records, 
P.O. Box 20547, Oakland, CA 94620-0547. E-mail him 
at <> or call 1-800-613-6968. 
And, yes, credit cards are accepted. Reminder: The 
"Glup" LPs do NOT contain pop-ups, so don't tell me 
I didn't warn you. For pop-up "purists," the"Gumdrop 
Follies" and "Schoolmates" LPs would be safer bets.) 


Adie with pop (up) music 

For the Christmas Category, three CBS Records 
LPs [from 1972, 1973 and 1974, respectively] and one 
Mannheim Steamroller/ American Gramaphone CD 
[1997] are worth mentioning. These are "The Best- 
Loved Music Of Christmas" Double LP (#P2S 5622); 
"Ronco Presents A Christmas Present" (UP 11772); 
"Ronco Presents A Christmas Gift" (UP 12430); and 
"My Little Christmas Tree& Other Christmas Bedtime 
Stories" CD. The gatefold pop-ups (think "Hallmark 

pop-up table centerpieces") of the Ronco LPs were 
designed and manufactured by Chris Cronwell & Co., 
Inc. Darien, CT., while the pop-ups of the "My Little 
Christmas Tree" CD were paper engineered by 
Intervisual Books. The last one (which reminds me so 
much of Tomie da Paola's Giorgio 's Village) is fairly 
recent and can be found in bargain bins. I found my 
copy in one. 

No item in the Country, Classical and Cinema 
Music Categories is really worth considering. 
Surprisingly, Country Music has the most number of 
pop-up packages next to Rock Music — but, sad to say, 
there are no standouts. Except, perhaps, for Jack 
Ingram's "That's Not Me" CD Single [rt5p-1010, 
Rising Tide, Nashville, TN, 1997] wherein the pop-up 
is a spare copy of the same CD. The text reads: "Why 
two discs? You'll want to give one to a friend!" 
Straightforward, yet effective. Which is probably the 
essence of Country Music. As for Classical Music, all 
I can say is: "Bo-ring!" The most interesting of the lot 
is "Erno Rapee's Melodyland Record Book: Six 
Musical Fairy Tales, with Eight Fine Recordings" 
[Music You Enjoy, Inc., NY, 1 942] featuring the works 
of Nikolai Rimsky-Korsakoff, Robert Schumann, 
Johannes Brahms, Peter Hitch Tschaikowsky, Sir 
Edward Elgar, Cam illeSaint-Saens, and Edvard Grieg. 
Just wheels and lift-the-flaps. Nothing really to write 
home about. 

For Cinema Music album covers, one would 
expect a whole slew of three-dimensional stuff. They're 
called 'moving pictures' after all, right? Wrong! The 
best they could muster is a very simple V-fold plus a 
punch-out sheet of characters ("Charlotte's Web" LP 
[1973] from Paramount Records [PAS- 1008]) and a 
multi-layered (think "PopShots") bevy of Busby 
Berkeley beauties ("Hollywood Musical: The Golden 
Age" LP [1972] from United Artists Records [UA-LA 
215-H]). And talk about musicals, the Theatre Music 
Category is just a slight improvement over the movies. 
If only for the pop-up images of Yul Brynner and Mary 
Martin, the "Theatrical Movers" LP [1973] sponsored 
by the Exxon Chemical Company may be worth 
considering. However, if you already have in your 
collection Ron van der Meer's The Phantom Of The 
Opera: The Sensational Musical In Three Dimensions 
book [ 1 988] from Harper & Row, Publishers Inc., look 
no further. It's the best show in town. 

For Jazz Music record jackets, there's the series of 
seven LPs [1965] on the Limelight label from Mercury 
Record Corporation. If the elementary (and I mean 
REALLY elementary) gatefold pop-ups don't impress 

Continued on page 8 

An Interview with David Carter: 
Part Three of Three 

Kate Sterling 

Corte Madera, California 

K: Let's talk about Keith Moseley. He did another one 

of my favorite books — Hiawatha . 

D: They [Intervisual]brought Keith in from England 
and gave him the title of Design Director. At that point 
Jim Diaz changed what he was doing and I actually 
worked under Keith for a while. I don't know if I share 
credit on any of Keith's books because that relationship 
didn't last very long. I worked under Keith for a short 
time and then Jim started giving me my own books. 

K: What do you look to that would be a particular 
strength or a talent of Keith's? 

D: Keith Moseley is a great paper engineer. I think 
Keith is responsible for creating some original 
mechanics, which is very unusual. You see very few 
people who actually sit down and create a new 
mechanic. John Strejan is one. Because Keith was also 
an illustrator, he was very good at meshing the two. He 
was one of the people who was able to say here's the 
paper engineering, here is the art, and I'm going to do 
them together. 

K: You and he are great at that. 

D: Early in my career I was thinking that's what needs 
to be done, but Keith was already doing it. When you 
look back at what he has done, he has created some 
genres like the dinosaur bone books. I saw something 
written about Keith that was so inaccurate. Someone 
said Keith Moseley had done a book with white paper 
cut outs and basically copied what Robert Sabuda has 
done. And it's like, sorry buddy! Keith did it first. 

K: When was Keith Moseley's Dinosaur Skeletons 

D: This (looking at a book) is the second or third 
printing and this is in 1991. I don't have one of the first 
Intervisual printings, but my guess is that the first 
Intervisual one was 1984 or 1985, before I ever did my 
own book. That was the time period I was working with 
Keith a little bit and that's when Jim and Linda decided 
that I would be pulled out and start doing my own stuff. 
I worked with Keith for a brief time, but I watched a lot 
of what he did. 

K: This is so effective, to use all the light paper for the 
skeleton and the colored paper for the background. 

(Dinosaur Skeletons.) 

D: That's right. There are a lot of things that he did 
like this. I think he was the first to use the concept of 
this beautiful white paper on a colored background. He 
also did the Flight pop-up book and he was the first to 
start doing these intricate models. He had a definite 
editorial area. He loved flying. I think he is a brilliant 
paper engineer. Keith can cut and he can combine the 
art with paper engineering as well. That is what he 
does the best. I have a lot of respect for Keith. He has 
a wonderful body of work. The paper engineering is 
beautiful and the art is really nice. 

K: Alpha Bugs was dedicated to Jim Diaz, "My Alpha 

D: Yes, that's because Jim was very influential in 
getting me into the business and we have become very 
good friends too. We think alike. What is important to 
me in a pop-up book is the same thing that Jim looks 
for. We have developed our concepts on what makes 
something good. Of course, Jim does it a different way 
and I do it a different way, but we think alike. 

K: Who wrote the text and the history for Elements of 



D: I wrote the text of the 

book, the descriptions of 

how each thing happens, 

and the history was taken 

from many, many different 

sources. I picked a couple 

of written histories that 

Intervisual had passed 

around. One of my very 

first jobs at Intervisual 

when I was hired in 1981 

was to do a quick little 

newsletter, which was only 

produced once or twice. It was sent out to publishers 

and in the very first newsletter was a history of pop- 

ups. It was probably written by Pete Seymore and told 

by Pete or Wally or whoever. I looked at that. I also got 

some of the information from the Movable Book 

Society — the Michael Dawson piece where he talked 

about Theodore Brown and Louis Giraud. I got a little 

information there. I then researched it further. I picked 

it up from various places. 

K: So you wrote the text and put the history together? 

D: Yes, and the majority of the paper engineering was 

Continued on page 17 

Activities of the European Branch 

of the Movable Book Society 

in the year 2000. 

Theo Geilen 
The Netherlands 

Inspired by the enthusiastic report of the September 
New York Movable Book Society conference written by 
Ellen G.K. Rubin in the last issue of Movable 
Stationery, we thought readers would be interested in 
learning something about last year's activities of the 
European members. For, although we don't have a big 
conference as organized in the States, and most of us 
couldn't afford to go to New York since the exchange 
rate of the U.S. dollar is so high, we, nevertheless, had 
a lot of activities in Holland last year, some of them 
attended by members from Germany and the United 
Kingdom. Maybe our activities will inspire other 
members to organize something similar. 

One-day conference in Amersfoort, April 8. 

The big exhibition of historical movable and pop-up 
books in Haarlem in 1996 was used as the occasion to 
organize the first gathering of collectors and others 
interested in the subject. It proved to be a very nice day 
and was remembered with good feelings for years. On 
several occasions we were asked when there would be 
another such meeting. In the last months of 1999 Mrs. 
Annie Baats and the writer of this article, who 
organized the first meeting, sat together to see if we 
could do a second event. We found a beautiful historical 
location in Amersfoort, a nice little town in the center 
of the country not far from Amsterdam and we decided 
to invite all the people we know to be involved with 
pop-up books for a one-day conference. We then just 
had to make a program and to contact the most-wanted 
people to lecture. In no time we got promises of 
contributions from "names" such as Carla Dijs, 
Hildegard Krahe, Ron van der Meer, Kees Moerbeek 
and Wilfried Blecher (the German designer of movable 
and novelty picture books since the early 1960s) - and 
we had some program ideas of our own. It was 
impossible to program all the contributions in the 
available time. Mrs. Krahe, who had agreed to lecture 
about Lothar Meggendorfer, regrettably had to resign at 
the very last moment because of the illness of her 
husband Peter, known as a gentleman and a great host 
to so many friends of movable books who visited his 
wife. Unfortunately, Peter passed away only a couple of 
months later, in early July 2000. 

On the morning of Saturday April 8 we welcomed 
some 50 people from different countries, some of whom 

arrived from abroad just the day before and stayed 
some extra days in Amsterdam. From other countries 
we received regrets from people who were unable to 
attend this time but sent nice greetings to all 
participants. Early in the morning we set up a special 
exhibition of carousel books in the beautiful gothic 
room, dating from the 16 th century used for the 
meeting. The books were mostly from the collection of 
Mrs. Baats and covered the complete history of these 
pop-ups. There were badges for everybody, handouts 
with background information about the various parts of 
the program and, of course, an informative leaflet on 
the Movable Book Society and extra copies of Movable 
Stationery, sent by Mrs. Montanaro for this purpose. 
For many of the arriving guests it was a pleasant 
reunion with old friends, and for others it was the first 
opportunity to meet so many people with the same 
interest and the prospect of having an informative day 
centered on the books they love. For both reasons it 
was not easy for the organization to get the people in 
their places and to start the program at exactly ten 

For an introduction round we asked the people to 
bring one item from their collection that was, for 
whatever reason, special for them. It appeared to be a 
good idea since the motivation of the choices gave not 
only a good glimpse of the personality of the collector, 
but resulted, at the same time, in a mini-show of 
historical curiosities and highlights of the species. 
People brought such things as rare movable picture 
cards from the 1 820s, great Meggendorfer books, very 
rare Dutch movable books from the 1 860s, a charming 
French book with a fold-out paper magic lantern from 
the 1920s, and also wonderful one-of-a-kinds made for 
special occasions for the specific collector. In no time 
people who had never seen each other before started to 
talk and compliment their neighbors - when they were 
not expressing "oohs" and "ahs" about the displayed 

For the next part of the program Ron van der Meer 
came especially from his studio in England. Since it 
was just a couple of weeks following a program in 
which a nationally-known talk show host had 
interviewed him and had filmed in his house and 
studio near London, we used a videotape as an 
introduction. Ron talked about his works, showed the 
first copies of his Formula I Pack, and told a lot about 
his way of designing pop-up books, showing several 
dummies of books he is actually working on that will 
be published in the future. Lots of questions from the 
audience followed and afterwards he signed many 
copies of his books brought by the collectors. 

Continued on page 22 


1 "fr - AWFUL 

2 "& - POOR 

3 it - OK 

4 "& - GOOD 

5 ■& - SUPERB 

<^T> Alles Gebacken! Pop-up-Buch. By Nele 
A-pA Moost. Ill: Annet Rudolph. Paper Eng: 
^*^ Massimo Missiroli. Esslinger. 3-480-21499-1. 
I9x22cm. 5 multi-piece pops, 6 tab mechs. Art: 
Humorous pen/watercolor. A penguin and his friends 
prepare for Christmas. A delightful holiday treat with 
nice art and pops. What's even more amazing is this 
version was made completely from the original art of 
the flat picture book. Paper Eng: Somewhat complex. 

^4> Amazing Pop-up 3-D Timescape. By Richard 
A^-A Piatt. Ill: Stephen Biesty. Paper Eng: David 
^**^ Haw cock. Dorling Kindersley. 0-7894-4716-9. 
$19.95 US. 26x30cm. One 5 foot high fold out with 1 1 
pop-up on it. Art: Photos, realistic pen/watercolor. 
"From the beginning of life to the 21st century." Packed 
with information and images, wonderfully detailed art 
by the meticulous Biesty. Paper Eng: Simple. 

Amazing Pop-up Pull-out Mummy Book 

By Claire Bampton. Ill: Nick Watton. Paper 
Eng: David Hawcock. Dorling Kindersley. 
0-7894-6507-8. $19.95 US. 26x30cm. One 5 foot high 
fold out pop-up. Art: Photos, realistic air brush, 
humorous pen/watercolor. History and facts about 
mummies from around the world. Informative but 
unwieldy pop-up is just OK. Paper Eng: Simple. 

The amazing pop-up geography book. (Why 
is everything so amazing all of the sudden?) 
By Kate Petty. Ill: Jennie Maizels. Paper Eng: 
Ruth Wickings. Dulion.0-525-46438-7. $22.99 US. 
22x30cm. One 3-D pop-up globe (which I couldn't 
figure out how to pop-up), 4 multi-piece pops, 1 wheel, 
38 tab/flap mechs, 2 fold-out booklets, about 50 flaps. 
Art: Humorous pen/watercolor. Everything you could 
possibly want to know about our humble (but very busy 
looking) planet. Crammed full, and I mean REALLY 
crammed full of facts. I had to take a nap after looking 
at it. Paper Eng: Simple. 

^/^l Don't wake the baby! By Jonathan Allen. 

*JLjv Paper Eng: Richard Ferguson. Candlewick 
h^i* Press. 0-7636-0891-2. $P9.99 US. $26.99 Can. 
25x28cm. 1 pop (which activates a sound chip), 6 pull 
tabs (5 of which each activate a different sound chip). 
Art: Humorous pen/watercolor. The creator of Wake up 
Sleeping Beauty! returns with a bumbling father who 
tries to avoid waking his sleeping baby. Hilarious 
results (and sounds) soon follow. Paper Eng: Simple. 

^A^. Ghoul School. Author uncredited. Ill: David 
A-tLA Roberts. Paper Eng: Corina Fletcher. Abrams. 
Im^iA 0-8109-4140-6. $17.95 US. 20x30cm. 3 multi- 
piece pops, 15 tab/flap mechs, 2 wheels, 8 flaps, 5 small 
removable booklets, 1 removable report card, 1 
removable paper whirligig that flies. Art: Dark, droll, 
British pen/watercolor. The adventures that occur at a 
school for the young and supernatural. Hilarious art and 
fun pops. A delightful morsel for the slightly twisted. 
Paper Eng: Somewhat complex. 

Little red car in the snow. By Matthew Price. 
III. & Paper Eng: Steve Augarde. Abeville 
Kids. 0-7892-0674-9. $6.95 US. 15x1 6cm. 4 
tab/flap mechs, 1 flap. Art: Humorous, pen/watercolor/ 
colored pencil. A small car with personality gets some 
help from its human friends when it becomes snow 
bound. Cute and fun for very young readers. Paper Eng: 
Simple. Also: Little red car gets into trouble, 0-7892- 
0676-5; Little red car has an accident, 0-7892-0673-0: 
Little red car plays taxi, 0-7892-0675-7. 

_ ^ Make a change: shapes. By Working White, 
*^ 2 ~ Ltd. Ill: Margot Thompson. Paper Eng: Gelf 

New land. The Millbrook Press. 0-7613-1044-4 
$8.95 US. 2 1x2 lcm. 7 tab/flap mechs, 2 wheels. 6 
multi-piece flaps. Art: Graphic, textured paintings. 
Young readers can transform simple shapes into new 
shapes or objects (circle, coiled snake, etc.). Nice 
concept and artwork. Paper Eng: Simple. Also: Make a 
change: opposites, 0-76 1 3- 1 043-6. 

Robert Crowther's amazing pop-up house 
of inventions. Candlewick Press. 0-7636- 
0810-6. $14.99 US, $20.99 Can. 26x22cm. 
opens parallel to the spine. 5 multi-piece pops. 5 pull 
tabs, 2 wheels, 52 (laps. Art: Humorous pen/watercolor. 
A hilarious and colorful history of everything in your 
house, from flush toilets to blue jeans. One of the most 
educational pop-ups (without being boring or thick) in 
recent years. Paper Eng: Simple. 

^Aw, The scared little bear. By Keith Faulkner. Ill: 
AJjLrV Jonathan I^ambert. Paper Eng: Uncredited. 
■Nl^" Orchard Books. 0-531-30267-9. $9.95 U.S. 
25x25cm. 6 big pops. Art: Humorous yet elegant 
watercolor. A small bear imagines a variety of ferocious 
animals as the things that go bump in the night. Nice art 
and simple but effective pops. Paper Eng: Simple. 

Truck jam. By Paul Strickland. Ragged Hears. 
'• ' 1-929927-03-7. $16.95 US. 27x23cm. 7 big 

pops. Art: Realistic watercolor. A traffic jam ol 
trucks. Pops are great and art is appealing in its subtle 
sophistication. Paper Eng: Somewhat complex. 

Whambamboozle. By Jason Page. Ill: 
Sebastian Quigley. Paper Eng: Jeff Newland/ 
Alan Brown. Tupelo Books. 0-688-17175-3. 
$1 1.95 US. 21x30cm. 1 pop, 16 tab/flap mechs, 1 
wheel, 6 flaps, 2 removable paper items, 1 sound chip, 
I rubber band activated jiggler. Art: Overdone, realistic 
computer-generated. The next-door neighbors live in a 
creepy castle. Why not stop by to borrow a cup of 
sugar? Concept is good, but the art is so busy it's 
distracting. Man)' of the mechs don't really do much. 
Paper Eng: Simple. 

Zany zoo. By Derek Matthews. The 
Millbrook Press. 0-7613-1427-x. $4.95 US. 
1 1 \ 14cm. 5 pops. Art: Humorous computer 
generated. Eive animals a very young reader would see 
when visiting the zoo. Short and sweet. Paper Eng: 
Simple. Also: Farmyard fun, 0-7613-1427-x; Jolly 
jungle, 0-7613-1425-3; Pet parade, 0-7613-1428-8. 

Book Arts Events 

The Columbia College Chicago has announced a 
spring program of courses, lectures, and exhibits. 
Offerings include printing, papermaking, 
demonstrations, and book binding. For more 
information see: 

4 Conference of 

The Movable Book Society 

September 19 - 21, 2002 

Milwaukee, Wisconsin 

Sharing Pop-ups 

Gene Wagner 
Milford, Ohio 

Now that my collection of Pop-Up books has reached 
250 books, I decided it was time to share them witli the 
community rather than keep them lonely on the book 
shelf. My first approach was to work with the delighted 
local Librarian here in Milford, Ohio. She arranged for 
a presentation to children aged 3 yrs and up if 
accompanied by their parents. About 40 people signed 
up. Initially, I presented some of my favorite books to 
the combined group of children and adults. I read a few 
books, such as The Owl and Pussy Cat, Ben's Box, and 
The Napping House Wakes Up. Then I demonstrated 
some other books such as Dragons and the National 
Geographic Books. Next, I allowed them to actually 
look at a range of 40 children's books instructing them 
not to touch the pop-up's themselves. They were very 
well behaved and I later found only a tiny piece of 
unattached folded green paper that I could not identify 
as missing from any of the books. After another 
half-hour, the children were separated off and given 
the goal of creating a pop-up of their own. Some of the 
parents went to help them, but many stayed and I 
presented some of the more sophisticated pop-ups to 
them. Most people expressed great delight in the 
chance to see them and I think it turned out to be quite 

Another day, I presented about 50 pop-ups to a 
group of 30-40 active seniors that meet at our church. 
Robert Sabuda's The Wonderful Wizard of Oz, started 
the presentation and set the standard. 1 did not read 
any books, but demonstrated the pop-ups from a variety 
of the books in my collection that would appeal to 
adults from Harle^s to hurricanes (The Earth Pack), 
with a few of the great children's books included. 
Again, the response was great. They were allowed to 
look at the books more closely when I was finished. As 
1 had at the first presentation, 1 wore only solid black 
so the books would show up well when I held them up 
in front of me. I did not present any of the books that 
have all of the pop-ups behind flaps because 
they are very awkward to handle and show. 

It was a good experience. All my books remained 
intact and some more people are aware of the wonders 
of pop-ups. One of the men told me that he has a 
pop-up of Queen Victoria's Coronation that he will 
show me. That I want to see. 

Just thought you might be interested in this way of 
sharing pop-ups. 

Pop-up Design - The Carousel Pop-Up 
Fourth in a Series 


Toronto, Ontario, Canada 

In my first three articles, I discussed the concepts 
behind the most common pop-up techniques. Bringing 
them to book form simply requires gluing several 
spreads back-to-back. In this article, I will discuss a 
variation on this theme, the carousel book. 

As always, my articles can be viewed on line at 
<>. Please 
drop by and visit. My site includes an extensive list of 
pop-up related links that I'm sure you will find 
interesting. I welcome comments and suggestions. 

The Carousel Pop-up: 

A carousel pop-up book is a book where, when 
opened up fully, the front cover folds back against the 
back and thus resembles a carousel or merry-go-round. 
The book is often tied open with the aid of a ribbon. 
Each page opens up forming a pie-shaped scene as 
shown in the illustration below. Carousel books first 
appeared in the late 1930's, but became more popular 
after the Second World War. Although carousel pop- 
ups are still not very common, they are visually 
effective and quite simple to make. 

A 6 Spread Carousel Pop-lip 

My first encounter with a carousel book was Pooh 
and Some Bees' almost 15 years ago and it's still one 
of my favorites. In this book, five of Ernest Shepard's 
famous illustrations have been reworked and presented 
in the format shown in the illustration above. What is 
really clever about this book is that the carousel can be 
unfolded like an accordion via a Velcro fastener 
revealing the full text of this Pooh story printed on the 
back side of the pop-up spreads! There are even tiny 
bonus pop-ups in the folds of the text. 

Carousel books are often used to create houses or 
castles. Jan Pienkowski's Botticelli's Bed and 
Breakfast 2 does just that and more. It also ranks 
among my favorites. His book depicts Botticelli's 
Venus and Michaelangelo's David as the hosts of an art 
packed bed and breakfast Inn. The reader's job is to 
discover the signature pieces of over 50 masters 
cleverly hidden in the house. Unfortunately, this book 
can often only be found inappropriately shelved in the 
children's sections of bookstores leaving art lovers 
unaware of this treat. 

A view of the Inn 

Author and illustrator Graeme Base has also 
stepped into the pop-up forum with his carousel 
adaptation of Lewis Carroll's Jabberwocky 3 . His 7- 
spread book is too wide to allow the book to be set up 
as a carousel, but the book is a wonderful visual feast. 

Designing the Carousel Spread: 

The concept behind the pie-shaped carousel is 
simple: a foreground image attached to both vertical 
sides of the background prevents the spread from 
opening a full 180°. This creates the triangular pie- 
shape. A mid-ground image slightly longer than the 
foreground image is attached along the same vertical 
sides as the foreground, but between the foreground 
and the background Cutouts in the fore and mid- 
grounds give a wonderful depth to the illustration. A 
top view of this concept is illustrated in the sketch 

In an earlier article, I mentioned that I am an 
engineer by profession. I also have a passion for math. 
The relationships between the widths, lengths and 
depths of this pop-up just crave formulas. I am 
presenting these to help you calculate sizes of the 
required pieces. Sizes can also be determined by trial 
and error without the math, but some finger 

gymnastics on your calculator will hopefully simplify 


Top View of Single Carousel Spread 

Let us assume that you want to make a book with "n" 
page spreads (using a number from 3 to 7 works best). 
The opening angle of the page "9" is calculated using 
the relationship: 



Now, if the width of the book is V, the length of 
foreground image "1" can be calculated using: 

/ = 2w*sin 


Finally, you'd like your mid-ground image to be set 
back a distance "x" from the foreground Using the 
Pythagorean Theorem, the width "m" of the mid- 
ground image becomes: 

m ■ 2„|x +1 w*sin 


The illustration of the top view of the carousel 
spread references all the variables used in the 
equations. This concludes the math portion of this 

As I mentioned, these dimensions can also be 
calculated by trial and error. Drawing a full-size top 
view of the spread and measuring the lengths with a 
ruler can be just as effective. Multiple mid-ground 
images are also possible. All images should be creased 
down the middle prior to being glued in place to allow 
the pop-up to fold closed properly. Remember to 
experiment to achieve your desired effects. 

All the above equations relate in some way to the 
width of the book. The height of the book is 
completely independent of the width. It can be as tall 
or short, as you desire. The book shape does not have 
to be rectangular either, although a flat bottom is 
desirable if the book is to stand on its own. 

The keys to the image depth are the cutouts. The 
foreground images should have the largest cutouts to 

maximize the viewing space and to prevent the images 
further back from being obscured. 

Now to add a twist, both the 90° and 180° discussed 
in my previous articles can easily be adapted to suit 
this style of book. In fact Botticelli's Bed and 
Breakfast is completely designed with 90° and 180° 
pop-ups. The possibilities are endless! 

In the next issue of Movable Stationery, I will be 
describing the peep-show pop-up book. I would also 
like to encourage you to send in your comments and 
suggestions for future articles. Even better, send me a 
photo of your creations! I'm looking forward to 
hearing from you. 

E.P. Dutton, New York, 1987. Engineer: Paulette 


Simon & Schuster Editions, New York, 19%. 

Engineers: Rodger Smith and Helen Balmer. 

Harry N. Abrams, New York, 1996. Engineer: 

Graeme Base. 

Pop (Up) music, continued from page 2 

you (I don't think they will, seriously), at least the line- 
up of musicians will. 
These are 'if You 
Can't Beat 'Em 
Join 'Em" featuring 
Gerry Mulligan 
New Continent" 
featuring Dizzy 
Gillespie and the 
Big Band [LS- 86022]; 
"Eloquence" featuring 
The Oscar Peterson 
Trio: Recorded Live 
at the Tivoli Gardens 

in Copenhagen [LS-86023]; "At The Museum 
Modern Art" featuring Milt Jackson (LM-82024); 
"Beaux J. Pooboo" featuring Les McCann Ltd. (LS- 
86025]; "Beautiful Friendship" featuring The Three 
Sounds [LS-86026]; and "Rip, Rig and Panic" 
featuring The Roland Kirk Quartet with Elvin Jones 
[LM-82027]. Each LP contains this audacious blurb: 
"This new dimensionally-designed Limelight album 

Continued on page 9 

Junkyard's pop-np 
debut CD (1989) 


Pop (lip) music, continued from page 8 

introduces another graphic innovation to modern record 
album design. Created and designed by Daniel Czubak. 
the unique effect achieved in this album brings new depth to 
the visual enjoyment of the discriminating record buyer." 
Okay. I hear ya. 

Which brings us to the most exciting category: 
Rock Music. Every device (gimmick?) we've come 
across in movable and novelty books can be found in 
this section. Name it, there's a package that's got it — 
from 3-D glasses (e.g. Grand Funk Railroad's "Shin in' 
On" LP [1974]) and Ienticulars (e.g. The Rolling 
Stones' "Their Satanic Majesties Request" [1967] to 
stickers (e.g. The Velvet Underground's "Peel Slowly 
And See" 5-CD Boxed Set with 're-peelable' Andy 
Warhol banana [1995]) and shaped (e.g. Megadeth's 
"Rust In Peace" coffin-shaped CD box with pop-up 
skeleton [ 1 990]). From touch-and-feel (e.g. Aerosmith's 
"Get A Grip" CD with faux cow hide cover [ 1 993]) and 
toy theatres (e.g. XTC's "No Thugs In Our House" 
Single [1982]) to battery-operated covers (e.g. The 
Time's "Pandemonium" CD with digital clock [1990]) 
and 'premium' items (e.g. Jane's Addiction's "Been 
Caught Stealing" CD with miniature usable handcuffs 
attached [1990]). 

From die-cuts (e.g. The Wailers' "Catch A Fire" 
LP shaped like an oversized Zippo lighter [1973]) and 
"do-it-yourself pop-ups (e.g. Parliament's "Motor- 
Booty Affair" LP [ 1 978]) to perforated punch-outs (e.g. 
Fingerprintz' "Distinguishing Marks" LP with 
postcards [1980]) and pull-tabs (e.g. Lightning Seeds' 
"Marvellous" CD [1995]). From horizontal split-leaves 
(e.g. John Lennon's "Walls And Bridges" LP [1974]) 
and wheels (e.g. The Soft Machine's "The Soft 
Machine" LP [ 1 968]) to movables (e.g. Faces' "Ooh La 
La" LP with moving eyes and jaw [1973]) and multi- 
layered constructions (e.g. Frank Zappa's "Beat The 
Boots" 8-cassette boxed set with pop-up cover [1991]). 
From lift-the-flaps (e.g. Twisted Sister's "Come Out 
And Play" LP [1985]) and transformation slats (e.g. 
David Bowie's "Black Tie White Noise" [1993]) to 
peepshows (e.g. BulletBoys' "Freakshow" CD [1991]) 
and pop-ups (e.g. Junkyard's "Junkyard" CD [1989] or 
Pink Floyd's "Libest Spacement Monitor" CD [1991]). 
(For the benefit of 'pop' historians, the very first Rock 
Music album cover with a pop-up gatefold is Jethro 
Tuft's "Stand Up" LP [1969].) 

Forget the long (but incomplete) list above. There 
are only three Rock Music must-haves. These are: 
Michael Jackson's "Dangerous" CD with a multi- 
layered pop-up [MJJ Productions Inc., Epic, a Division 
of Sony Music, NY, 1991]; Led Zeppelin's "Stairway 

G race land 

To Heaven: 20th Anniversary Commemorative 

which has a three-dimensional zeppelin, naturally!, 

[Atlantic Recording Corporation, NY, 1 992]; and Elvis 

Presley's "If Every Day Was Like Christmas: Special 

Collector's Edition" which features a pop-up 

Graceland in the snow 

[BMG Music, 

NY, 1994]. 


I stated during 

my talk in NY 

that Elvis 

deserves the 

"King of Pop" 

title since he has 

TWO pop-up 

Gracelands as contrasted to only one pop-up White 

House. I was wrong. Soon there will be THREE pop-up 

Gracelands: the one I'vejust mentioned; the lb Penick- 

engineered "Graceland" Souvenir Card [Graceland 

Enterprises, Inc., 1983]; and "Elvis Presley's 

Graceland," from the same guys who gave you the Van 

Gogh's House and Norman Rockwell tie-back 


For purposes of brevity (and space 
considerations), this article covers only the highlights 
of my NY presentation. For the complete file (I showed 
over 200 items which included music-related pop-up 
adverts, books, reference materials, etc.), write me at 
<> and I'll gladly send it 
to you. Finally, the pop-up "Gramophone" prop I 
featured (a few have asked me where I got it) is a 1 998 
greeting card from Graphics3 Inc., Jupiter, FL. You 
can contact fellow MBS member Janet Ervin (who 
sourced it for me) at <>. 
She may still have a few more copies left. Thanks for 
"listening." Let the music play on. And keep on 

Frankfurt Book Fair, continued from page I 

and the "Lifetime Achievement Award" given to him 
by the Movable Book Society just a few weeks before. 
Though he tried not to show it, we could see how 
honored Mr. Hunt felt to have received these signs of 
great respect for and appreciation of the work he has 
done over 35 years in children's book in general but, 
especially, for the beloved pop-up, movable and novelty 
books. He was also flattered to be honored with a full- 
page picture in the Publisher's Weekly's special 

"Printing in Asia " (see their website 
< www.publishersweekly. com> ). We congratulated 
Mr. Hunt in advance of his 80th birthday on November 
28 and we do it here once more: Wally, all best wishes, 
good health, and we hope to see you many more times 
in Frankfurt! We know Mr. Hunt does not think of any 
retirement, in spite of the problems with his legs. 

It was a memorable start to our visit of the fair. With 
a head full of memories of that special man who we met 
so long ago, we had to force ourselves to work 
systematically - with the pleasant prospect of another 
appointment with him a couple of days later. 

In row A we met another amiable man of long 
acquaintance, Mr. Gerald Jenkins, the Chairman of 
Tarquin Books. Their stand is always a pleasure since 
it shows all the lower-priced books in their finished 
shape: a feast of mobiles, paper automata, flexagons, 
polyhedra, fractal cuts, slice forms, geodesic domes and 
all those other mathematical curiosities perfectly glued 
together that make us feel so clumsy. A wonderful new 
publication is their Pivoting Parrots (ISBN 1-8996- 
1 839-2) and other balancing models by Anne Wild that 
make use of small coins as counterweights for the 
balance. Also on display was a new Leonardo 's 
Machines (1-8996-1837-6) by Bernard Ambrose, a 
trained engineer who made an extensive study of the 
drawings of Leonardo da Vinci and now has adapted 
four of his mechanical ideas into paper models. 

A first surprise was a packager hitherto unknown to 
us: Robert Frederick Ltd. from Bath and apparently 
connected with Grandreams, U.K. They showed a series 
of three large (28 x 28 cm.) pop-up books under the 
series name "Pop Up Animals": Pop Up Jungle (1- 
85081-655-7), Pop Up Farm (1-85081-654-9) and 
Three Little Pigs: Pop Up Story Book ( 1 -903437-92-X). 

They had the dummy of 
a large new carousel 
book: Dinosaur World. 
A big Cinderella (1- 
85081-917-3), inspired 
by Kubasta's 
Panascopic Models, 
folds out into a three- 
dimensional castle and 
is fully detailed 
internally with various 
smaller buildings, 
accompanied by an electronic sound track and, 
strangely, a multi-directional train track instead of 
Cinderella's usual coach. Another series was very 
clearly inspired by earlier Intervisual "'playsets" such as 
Little Choo Choo, Christmas Village and 77?c' Big Race. 

Their "Story & Ride 
Product Range," Farm 
Ride (1-85081-876-2) 
and Safari Ride (1- 
85081-030-3), both 
have a similar wind- 
up toy trains and 
sound tracks. Here 
again we met the 

mentioned in our earlier reports of the fair, the almost 
shameless way that original ideas in the world of the 
pop-ups are copied. Apparently there is no way to 
protect/patent one's design and an innovative idea can 
freely and easily be copied by anyone who thinks it 
might be commercially successful. As a consequence, 
paper engineers are reluctant to show or tell anything 
about their new books, fearing their ideas will be stolen 
before the book is published. 

Such, apparently, was 
the reason we didn't see 
anything new done by 
Ron van der Meer. Since 
he himself did not attend 
the fair, we talked with 
his brother and business 
partner who told us, 
somewhat mysteriously, 
that Ron has developed 
some new ideas for pop- 
up books that will link 
with the world wide web. 
The only dummy of a work-in-progress we saw was the 
Holland Pack, to come in 200 1 . It is a novelty in which 
the last spread will be reserved for sponsors. Holland- 
based multinationals like Philips, Shell or Unilever can 
purchase their copies with a special, company-related 
final spread. Not too collector friendly, will we have to 
collect all versions? On display we saw the just- 
published The Cook Pack (1-902413-41-5), a glossy 
cookbook with hardly any pop-ups, and the Para 
Science Pack ( 1 -9024 1 3-53-9) with text by Uri Geller 
and beautiful blank paper artwork by Ron van der Meer 
that sometimes magically mirrors colors. The new 
Keith Moseley,.-* Busy Day for Santa ( 1 -9024 1 3-49-0), 
has again a paper sculpture in an acetate frame as a 
front cover. Olivier Charbonnel's Santa's Factory in 
an unusual but ingenious way folds out into a three- 
floor toy factory with a rounding attic and roof. Since 
Van der Meer Publishing showed their books at the 
stand of their British distributors, Tango Books, we 
took the opportunity to also see the new products of 
Sadie Fields Productions/Tango Books. They had a 
new book by Eva Tatcheva, Witch Zelda's Christmas 


Present, done in the shape of a Christmas tree and a 
sequel to her earlier Witch Zelda 's Birthday Cake. The 
new book by Pete Bowman, Ed Elephant 's Christmas 
Adventure (1-85707-364-9), a pop-up book with mini 
Christmas cards in the tradition of his earlier Teddy's 
Christmas and Little Owl 's Christmas. A new lift-the- 
flap book by Emma Damon, All Kinds of Beliefs (1- 
85707-505-6), is the sequel to her successful All Kinds 
of People ( 1 995). Tango Books director Mr. Fielder told 
us that one took a great deal of diplomacy because of its 
subject. A nice new little book with eight, multi-layered 
box scenes (shadow box technique) is Ljiljana Ryland's 
Christmas Dreaming (1-85707-380-0). But this year's 
gem from Sadie Fields Productions is, we thought, the 
new book by Brian Lee, The Book of Greek Myths (1- 
85707-384-3). It follows the concept of his well-known 
Pop-up Board Games and Ghost Hunters, but it now 
has four pop-up board games based on the stories of 
Odysseus, Theseus and the Minotaur, the Trojan Horse, 
and Daedalus and Icarus. Their announced title by Pat 
Thomson, Ghoul School: A wickedly Scary Pop-up 
Book (1-85707-381-9), has been postponed until fall 
200 1 , maybe to avoid confusion with Abrams' recently- 
published Ghoul School (0-8109-4140-6). It is 
illustrated by David Roberts, paper engineered by 
Corina Fletcher, and announced as a "hair-rising pop- 
up lesson in spookery." 

Just a couple of stands 
removed we meet Mr. 
David Hawcock, the paper 
engineer who did the 
artwork for so many titles 
published by Tango Books 
in earlier years. Nowadays 
he has his own packaging 
firm and works mostly 
with Dorling Kindersley. 
His Amazing Pop-up Pull- 
out Mummy Book (0- 
7513-6343-X), has just been published. It unfolds to a 
one and a half metre high pop-up poster - another part 
of a growing series of similar designs. David told us he 
just finished the next part, Tyrannosaurus Rex, 
illustrated by John Sibbick and with text by Clay 
Brompton, a specialist from the London Museum of 
Natural History. It will come next year from Dorling 
Kindersley, another company that never shows 
forthcoming projects. Planned in the same such design 
are Robot and Medie\'al Knight. On display was the 
dummy of a new Totally Amazing Pop-up Animal 
Masks with masks that can be taken out to wear and put 
back in the book again after play. Also shown were the 
dummies of Alien Safari and Dinosaurs, each with six 
paper models that click in shape outside the books. 




E2i Y- r i 



ma, ■'-■-.-* 

Special, we thought, were a set of four by Mr. Hawcock 
provisionally called "scuffle books," books that by an 
innovative, simple technique - but with a very 
surprising and pleasing effect - scuttle away when a 
string is pulled: Bat, Spider, Frog and Mouse. Indeed, 
it was the only new technique in a movable book we 
saw at this fair and, of course, we enthusiastically 
praised to its inventor. Follow his works at his website 

Going on we needed a 
sharp eye to discover any 
interesting movable or 
pop-up books amongst the 
enormous offerings of | 
new books shown by the 
big publ ishing companies. 
But we succeeded. 
Harper-Festival had Tlie 
Twelve Days of Christmas 
(0-694-0 1446-X) fanning out in the shape of a 
Christmas tree and illustrated by Eleni Gianopolus. 
Golden Books will hitch into the Pokemon craze with 
Pokemon: Where are you Pikachu? A super Pop-up 
Book (0-307-33237-3), and exploits the Scooby-Doo 
character with Scooby-Doo! Mummy's Tomb Maze 
Book (0-307-1 1 127-X) with six built-in sliding puzzles 
behind acetates, 


announced two movable 

books in their "Letterland 

Concept Books" series, 

developed by Lyn Wendon 

for children with reading 

difficulties: Oscar's 

Oranges ' Book of 

Opposites (0-00-303457- 

7), a pull-tab book to 

teach children about 

opposites; and Clever Cat 's Book of Colours (0-00- 

303456-9), a turn-the- wheels book with a clever use of 

the shape of the letters integrated in the illustrations. 

Running Press has 3-D Mother Goose Nursery 

Rhymes and a new series "The 3-D Journal" with three 

parts (Unicorns, Monsters and Vampires). But the 

suggestion from these titles is rather misleading since 

the books have just a slightly 

three-dimensional, better, 

embossed front cover. 

l'ct:t c I 1 a n d 

Book of Colours 

iV... sA 

Mm" * H^ 

HOUSsfc Of 



Walker Books from 
London UK (and so, most 
probably, their American 



sister company Candlewick Press) will publish Robert 

Crowther's Colours with pull tabs to see the colors 

come to life, and Lucy Cousins' new Maisy 's Farm, a 

three-scene carousel book strongly reminiscent of her 

best-selling Maisy 's House. Candlewick has another 

new Robert Crowther title, Amazing Pop-up House of 


(0-7636-0810-6) crowded with over 300 facts 

inventions and coming in 

motion by pull-tabs and lift 

flaps as known from his 

other books. Candlewick 

will bring out another Lucy 

Cousins title. Merry 

Christmas Maisy (0-7636- 

1279-0) showing Maisy's 

holiday preparations also 

using pull tabs and lift flaps. 

Amongst all kinds of 
novelty books Oyster Books 
offered just one title fitting 

our interest. Here we go round the Mulberry Bush, an 
accordion-folded edition illustrated by Jenny Tulip with 
pop-ups, pull-tabs and a sound module. At Orchard 
Books we saw the new Penny Dann, The Secret Fairy 
Boutique (1-84121-470-5), part four in her "Secret 
Fairy Collection" including seven spreads with pop-ups, 
tabs, a handbag, nail tattoos and a friendship bracelet. 
The success of her formula seems to have been the 
inspiration both for Liza Woodroff, How to be a little 
Bride (1-84121-481-7) with its pop-ups and all the 
accessories to be a bridesmaid; and for Jan Lewis, 77k? 
Secret Princess Handbook, to come fall 2001 and also 
packed with small gifts next to the pop-ups. Orchard is 
reprinting Philidda Gili's interpretation of The 
Nutcracker: A Pop-up Book, and four parts of David 
Carter's bugs series (Alpha Bugs, How Many Bugs in a 
Box, More Bugs in Boxes and 77k? 12 Bugs of 
Christmas), all of them with newly designed covers (to 
confuse the collectors?). They also have a new Keith 
Faulkner book. The Scared Little Bear: A Not-Too- 
Scary Pop-up Book (0-531-30267-9), with the story of 
a bear letting his imagination get the better of him. 


We found 
another title from 
Keith Faulkner 
and Jonathan 
Lambert at 
Millbrook Press, 
The Christmas 
Story (0-7613- 
1439-3) at the 
end opening into a three-dimensional creche. A new 

• rOMTviuarv^rL/ 

work of the aforementioned Jan Lewis was seen at the 
packagers Breslich & Foss: The Pop Up Music Book, 
part of their "First Pop Up and LeanT series offering 
an introduction to musical instruments for pre-school 
children, stimulating them to pluck a stringed 
instrument, to shake a maraca, or to beat a drum, paper 
engineered by Corina Fletcher. The next part in that 
series will be The Pop Up Art Book including nice 
slides to mix colors and make new ones. 

Matthew Price Ltd. offers a new series of four 
Monster Books, written, illustrated, and paper 
engineered (lift-flaps and turn-wheels) by our much 
admired Steve Augarde. Also on exhibit here was the 
sequel to his earlier books Tractor Factory and Fire 
Engine, Steve Augarde 's Garage, simply but 
ingeniously engineered, as always, and - again - a true 
fascination for boys (males?). Price Ltd. also 
announced 'the long-awaited sequel to Peekaboo," the 
ever-selling 1985 pop-up with the illustrations by Jean 
Claverie. The new title will be Who Loves You Baby 
Bear? and will have illustrations by Sam Williams. It 
has a rather simple concept with a high degree of 
cuteness as so many lost little bears awake with 
children - and adults alike. To come next fall. 

A book that surely will sell large quantities and 
whose concept the older reader will remember from 
their youth in the 1960s (or the 1950s?) when it came 
as a boxed game, is Jay Young's, 77k? Amazing Magic 
Fact Machine: Spin the Magic Finger to Find the 
Right Answer. Packaged by David Bennett Books and 
seen at their stand in various languages, it contains a 
dial that spins around (a simple magnetic principle) to 
help kids answer questions on various kinds of facts on 
its subsequent pages, die-cut in the middle to place the 
"magic finger." The packager showed how the concept 
will be marketed in coming years in books with titles 
such as 77ie Amazing Magic Fortune Teller, The Magic 
World of Learning, and others. 

Surely the place to be for the most beautiful pop-up 
books of this year's fair was the stand of Simon and 
Schuster (Little Simon). The three titles that rate for a 
first place in the production 
of the year 2000 will be 
mentioned just briefly since 
they have already had so 
much attention: Kees 
Moerbeek's innovative The 
Spooh' Scrapbook (0-689- 
83414-4); Brooklyn Pops Up 
in its four various editions 
which every member, of | 
course, wants to possess with 


the logo of the Movable Book Society on its spine; and 
Robert Sabuda's The Wonderful Wizard of Oz. A 
Commemorative Pop-up (0-689-8 1 75 1 -7). The later is 
beyond praise in all aspects although some spreads 
proved rather difficult to fold down and looked ruined 
after a few days on display at the fair. We heard voices 
who thought the Wizard with its huge number of pop- 
ups was rather overdone and pointed out that 
moderation made the master Lothar Meggendorfer - 
but maybe these voices were also subject to a certain 
degree of jalousie de metier ...? 

Simon and Schuster also showed new titles to come 

in 2001: David Carter's never-ending series of "Bug 

Books" will be extended with Easter Bugs (0-689- 

81862-0) and Stinky Bugs: A Lift and Sniff Book. And 

the "bugmania" now appears to be infectious: S & S 

announced The Mix and Match Book of Bugs by Sally 

Rose with illustrations by Scott McDougall, in which 

split panels allow the reader to create all kinds of bugs. 

David Carter, with his wife Noelle, also did a great new 

pop-up adaptation ofE.T.A. Hoffmann's original tale of 

77k? Nutcracker (0-689-83285-0) for Simon and 

Schuster's "Classic Collectible Pop-up Series." It is our 

fifth title vying for the best pop-up of the fair with its 

wonderful layout of pages done in a new art style for 

David Carter and with beautifully engineered fold-down 

scenes reminiscent of theater sets. It is a must, not only 

for Christmas. David Carter also did the paper artwork 

(six nice fold-down scenes) for a new design of The 

Night before 


illustrated by Tom 

Patrick and 

published by 

Hallmark Books. 

Also coming in 

2001 from Simon & 

Schuster is Rebecca 

Sams, Under the 

Bed: A Pop-up 

Book (0-689-84009-8), a hilarious story on cleaning up 
your room, illustrated by Laura Merer and ending up in 
an humorous pop-up finale. And Little Red Riding 
Hood, illustrated by Marjorie Priceman and with four 
pop-ups on its seven spreads will be out in the fall of 

The company that has competed for several years 
with Simon & Schuster for the best of the pop-ups is, 
without any doubt, Macmillan. Nick Denchfield, their 
star paper engineer, has a glorious new Alice 's Pop-up 
in Wonderland (0-333-901 13-4), a six-scene carousel 
featuring the classic Alice illustrations (redrawn by 
Alex Vining), with tabs to pull, figures to press-out, a 

pull-out game and a booklet telling the story. The book 
was issued in a first edition of 100,000 copies 
worldwide! Denchfield'sD/'«o5awr/ , ar^(2000), a large 
pop-up book with fold-down scenes and loosely 
inserted three-dimensional animals to play with, will 
be followed soon by a similar Pop-up Safari Adventure 
(0-333-78 137-6) and Pop-up Ocean. The equally well- 
known Maggie Bateson did for Macmillan another 
elaborate carousel, My Secret Fairy Garden, illustrated 
by Louise Confort in pink and using foil. It also has 
press-out figures and a booklet telling about the fairies 
preparing for the big fairy wedding. Perfect for girls 
and (female?) collectors. A great non-fiction title 
coming from Macmillan's is The Big Book of Pop-up 
Optical Illusions by Andrew Bennett, in which the 
reader, with the help of the character Doctor Optic, is 
led through the fact-filled spreads and can find lots of 
optical illusions (sometimes in pop-up) on any of its six 
spreads. Looks a bit like a Van der Meer "Pack," but 
otherwise you cannot believe your eyes in this book! 
We especially love this kind of book with illusions. 

..%:.... ^ .... 


Aside from all of 
these giants in the field 
of publishing pop-up and 
movable books we saw 
interesting single titles 
worth mentioning at 
smaller publishing 
houses. At Ragged Bears 
for example, The Big 
White Book by Mike 
Brown low, a large 20- 
page book of tough 
board pages, at first sight mysteriously empty (white!). 
By looking more closely and by the use of ingenious 
flaps, pulleys and tabs, the reader meets a whole host 
of colorful little book men living within the pages! 
Very imaginative and great fun. A must have. 

Kees Moerbeek did for Child's Play a very nice 77z<? 
First Christmas (0-88953-834-6). It is another book in 
the triangular shape known from a lot of his other 
works and now matching very well with the nativity 
crib scene the book finally turns into. Additionally 
there are stand up figures stored in the back cover of 
the book. The same publisher has another original 
novelty by Kees Moerbeek, the "Roly Poly Books," 
three little boxes concealing a wealth of pop-up secrets 
that are uncovered as the "books" mysteriously unravel. 
The titles are Old MacDonald (0-85953-649-1), 
Mother Goose (0-85953-854-1) and Numbers (0- 

Tony Potter Publishing showed Ihe dummy of Ned's 


Garage, another carousel and peculiar for its pastel 

colors not usually found with this theme. At Design 

Eye's we saw the first two parts of their new "Extreme 

Planet Series" announced "to encompass all kinds of 

remarkable phenomena, from the natural world to 

amazing human facts" 

but first bringing 

Hurricanes and 

Tornados and Volcanoes 

and Earthquakes. The 

books have interactive 

pop-ups, lift-up sections, 

die-cuts and press-out 

card components. The 

most intriguing parts are 

the working models that 

fold out from the inside of the front covers to make the 

extreme phenomena occur: a tornado in action in the 

first book, a volcanic eruption and an earthquake taking 

place as "action simulators" in the second book. 

A wonderful new David Pelham pop-up book comes 
from Handprint Books, New York, A Piece of Cake ( 1 - 
929766-01-7), kind of a sequel to his funny Say Cheese 
and in the same triangular shape. With a fine paper 
sculpture encased behind acetate built into the front 
cover and 1 1(!) spreads with pop-ups, lift-the-flaps, and 
the cutest little mouse we ever remember having seen, 
unrolling from one of the spreads to end up sitting on 
the border of the spread. A joy, and another must for 

Completely new to us was the London-based 
packager/publisher Aladdin Children's Books having 
four new pop-up books. They showed two beautiful, 
detailed dollhouse carousel books TJie Haunted House 
(with even a rounding side-tower!) and an Edwardian 
Grocer both with additional story booklets and push-out 
characters to play with. They have no paper engineer 
credited but they are strongly reminiscent of last year's 
Hk Victorian House Book by Keith Moseley, with its 
innovative outside front of the house at one side and 
some open inside rooms at the other side of the 
carousel. Nevertheless they are great additions for any 
collector fond of carousel books. [We have just learned 
of Mr. Moseley's website <> 
and the two books are his works!] Maybe also the other 
two dummies we saw at Aladdin will prove to be done 
by Keith Moseley, Dino-Pop, a sturdy pop-up book with 
various dinosaurs and amusing text describing each of 
the modeled creatures, and a Traditional 19th-century- 
Farm. It is not really a book but more a kind of a 
portfolio that unfolds into a square of buildings and 
shows in full three-dimensional detail the old-fashioned 
farmhouse, a cow stable with cows waiting to be milked. 

a stable with an old horse, and a great barn. When 
opened it offers a nice tableau of unfolded miniature 
paper houses and varies the "playsets" as known from 
Intervisual (and also partly engineered by Mr. 

Publishing brought 
some new dummies 
from their well-known 
in-house designers. 
Helen Ward's One 
Fine Day offers a 
charming gift package 
with a movable paper 
sculpture behind a heart-shaped acetate window, 
doubling as a slipcase for an illustrated storybook. It 
comes with a ribbon loop ready for hanging on a 
bedroom wall (in the tradition of a similar series such 
as Robinson Mouse and Cindy Mouse, again by Keith 
Moseley). A. J. Wood has a new House Full of 
Monsters: Pop-up, a Halloween special with 
illustrations by Deborah Allwright and including pull- 
tabs, wheels and flaps to lift. Derek Matthews has some 
new parts in his series of "Snappy Pop-ups" and 
showed a new Pop-up ABC full of first words for 
toddlers to learn, with each letter having its own 
surprise to reveal, hidden behind a pop-up or a flap and 
ending up in a final full-spread pop. 

Before returning to Intervisual Books we had a look 
in the halls where the European children's book 
publishers conducted their business. This year's fair 

once more showed 
how almost 
exclusively Anglo 
Saxon the world of the 
movable, pop-up and 
novelty books appears 
to be. And since the 
exchange rates of both 
the American dollar 
and the British pound 
sterling have stayed 
extremely high for a 
long time in relation to 
the European Euro, we 
think there never have 
been so few European co-editions of the products of the 
British and American packagers and publishers as 
there were this year. Prom different sides this feeling 
was stated by people involved in this business. We 
found very few "original European" pop-ups. In the 
halls of the German publishers we saw, at Esslinger 
Verlag J.F. Schreiber, a pop-up adaptation of their 

Pop jp Bu<d 



picturebook character Kleiner Raben (Little Raven) by 
Nele Moost and Annet Rudolph. Alles gebacken! Pop- 
up Buch (Everything cooked! Pop-up book) (3-4802- 
1499-1) paper engineered by our fellow Movable Book 
Society member, Italian artist Massimo Missiroli. His 
paper artwork was his third book for the former 
Meggendorfer publisher, following his earlier 
Struwwelpeter and Max und Moriiz pop-up books. 

Rowohlt was the first to get a prestigeous German 
award, the Deutsche Jugendliteratur Preis for a pop-up 
book: Antje von Stemm's Fraulein Pop und Mrs. Up. 
We wrote about this in the last issue of Movable 
Stationery. Strangely enough it was awarded in the 
category of non-fiction, possibly because of its hobby or 
do-it-yourself character. They also showed Antje von 
Stemm's sequel, to come in 2001. 

Coppenrath, from Munster, Germany showed a nice 
novelty: Edison geht ein Licht auf! Die Geschichte der 
Gluhlampe (A light dawned upon Edison: The history 
of the electric bulb) (3-8157-2066-4) It has a text by 
Tom Lackner and illustrations by Barbara Jelenkovich 
with numerous flaps to lift, tabs to pull and a real light 
on every page: such as a car light, a street lantern, a 
lighthouse, a traffic light and more. 

That was almost all there was from European 
publishers this year, at least those pop-ups and 
movables we think would be of interest to the readers of 
Movable Stationery, people looking for collectable 
items. We found nothing interesting at all at the stands 
of the French, Spanish, Italian, or Eastern European 
publishers. So we returned to the "international hall," as 
it is called, the big hall with all the British and 
American publishing houses, to see (and now in full) 
this year's production from Intervisual Books, always 
the leader in the field. 

At the beginning of this article we mentioned Rives' 
Polar Bear that Mr. Hunt described as Intervisual's 
highlight. Since we now had seen the complete 
production of the other firms, we could agree that the 
book proved to be one of the top five or six of this year's 
fair. The other candidates we described above. Other 
new books (or dummies of new books) we saw at 
Intervisual were an Old MacDonald's Farm and a 
Wheels on the Bus, both additional titles in their series 
of "3-D Playsets with Sound and Windups." Another 
"Pack-like" production, Rugby: A Three-Dimensional 
Tribute to the Sport, engineered by Tor Lokvig, follows 
the formula of Hurley Davidson or the Elvis Pack. The 
Mouse in the House Playset includes three pop-up play 
scenes and is illustrated by Karen Bell. LynetteRuschak 
did a sequel to her Annie Ate Apples with the new 

Oscar's Opposites that has a lot of pull-tabs, lift-flaps, 
wheels, and simple pop-ups - and a great spaghetti- 
eater! A novelty book from Heather Gondek, Morning 
in the Garden/Nighttime in the Garden is a two-in-one 
book that, once the first book is read, allows the reader 
to turn it over to read its opposite part. In both parts 
there are pull tabs, pop-ups and touch-and-feel 
elements. The young Hungarian designer Krisztina 
Nagy showed a fourth title in her series of "Fuzzy 
Bear" books, Fuzzy Bear goes to School. Dave Jonason 
has a remarkable Midge and Gizmo 's Scavenger Hunt 
with weird illustrations and lots of movable elements to 
find hidden objects in its eight scenes. 

Extra attention has to be given to some books with 
special (new) techniques or gimmicks. Announced as 
"IBI's first Talking Picture Book" was Say Moo! A 
Speak-and-Play Book, a book that al lows you to record 
each animal sound in your own voice and play it back 
with the press of a button. Betty Ann Schwartz, What 
Makes Music? has seven colorful strings incorporated, 
growing from one on the first spread to seven on the 
last and forming a xylophone - the same concept as 
used in last year's What Makes a Rainbow? 

David Wood and Richard Fowler worked together 
again on The Toy Cupboard, an action packed book 
with pop-ups, pull-tabs, wheels, a puzzle, paper dolls, 
punch-out clothes, and a fishing pole that actually 
catches fishes in a 3-D pond. The kind of book that in 
no time will prove to be difficult to find complete with 
all its accessories. A special technique to build up a 
doll's house was used in Phil Wilson's one spread 
Mystery Manor: A Spectacular Playset. It is not a 
carousel but it is difficult to describe how it actually 
works. Once the covers are opened, you have to unfold 
the five-room house yourself and fasten it by inserting 
tabs at its bottom; a next step is the unfolding and the 
inserting of the roof. There are aiso a lot of tomb stones 
to erect in the front garden and all this results in a tall, 
almost two feet high paper building (hard to unfold and 
flatten again too!). 

But the book we were most attracted to at 
Intervisual was Jennifer Lawrence'sSaJDoggv, telling 
the story of the boy Ben who wants to make his crabby 
canine a little happier and for that purpose gets out his 
paper and scissors to create an assortment of pop-ups 
on the pages: a car, a mask and an oh-so-charming 
plane. Unfortunately nothing seems to make the 
depressed dog happy. But lucky for us, we grow very 
happy looking at the artistic and humorous il lustrations 
by Tim Ering - mind his name! Surely something for 
the small but treasured collection of "special artists' 
books" on our shelves. 


For those readers who 
have heard enough now 
about all the "fantastic and 
collectable" new items but 
prefer (and are experienced 
enough) to make pop-ups 
themselves, we saw in 
Frankfurt a wonderful new 
range of Moving Model Kits 
designed by Keith Newstead, 
U.K.'s finest creator of 
automata models. Newstead 
designed moving models for many of the world's 
(British) premier tourist attractions: The London Eye for 
British Airways, The Guillotine for Madam Tussaud's, 
Sisi for Schonbrunn Castle in Vienna, Off with his head 
for the London Dungeon and others. Arcrurus 
Publishing Ltd, London, brings a series of six Moving 
Model Books with great weird models by Newstead: 
Mummies, Aliens, Dinosaurs, Vikings, The Odyssey and 
Dennis & Gnosher. Great stuff to do it yourself, but 
make sure to look first at the final results at their 
website <> ! 

As usual, we saved the titles we thought the most 
attractive of this year's fair, those literally irresistible, 
for the final paragraph of our article (to see who would 
read to its end). Two books made us so greedy that we 

could not wait to add them to our collection and tried - 
successfully - to acquire a copy of them during the fair. 
In random order: Das Weihnachlskarussell (3-8157- 
1992-5) by Anne Braun and illustrated by Gabriele 
Hoppner, published at Coppenrath in Miinster, 
Germany. The covers appear to be just a portfolio 
hiding a twelve-page booklet with a Christmas story, 
and the real present Father Christmas brought for the 
little Luisa in her dreams. But a glorious, colorful pop- 
up merry-go-round comes popping up at once when 
unwrapped! More, the merry-go-round turns around and 
plays "Jingle Bells" at the pull of a string. The covers 
(and the booklet) can be used to form a panoramic 

background and so you will have a wonderful paper toy 
in your display case. By the simple push of one finger 
the whole paper sculpture folds flat again. It is a great 
piece of paper engineering by Christian LeGrand who 
surprised us earlier with his innovative techniques. 

The other 
"book" that raised 
our temperature 
was My 4 WD: A 
Story You Can 
Really Get Into, 
designed and 
illustrated by 
"Inc." (sic!), with 
text by Paula 
Borton. Getting 
children into books 
takes on new 
meaning with this 
book. In fact, it will be difficult to keep kids out of 
them! The book comes as a first part in a series of 
"Convertibles," has large format (35x35 cm.) and is 
done in heavy board. The zig-zag folded book appears 
to transform into a three meter "road" (playmat), but 
this proves to be only its first transformation. For next 
the "road" magically turns into a real toddler-sized car! 
It is big enough for the child to literally step into 
through a door that opens, to play with the controls, to 
steer with the wheel and to drive off. It is published by 
Miles Kelly Publishing, Great Bardsfield, U.K.(1- 
902947-71-1), who also announced forthcoming 
"Convertibles" like My Boat and My Fire Engine. 

Though we would 
have had liked best to 
have driven out of the 
fair ourselves in the 
newly- acquired four 
wheel drive, with the 
turning and music 
playing roundabout by 
Christian LeGrand on 
the front (imagine!), we 
asked, timidly and 

slightly embarrassed, for a non-transparent bag to hide 
the treasures in until we could reach home. We stay, 
alas, decent grown-ups who just have "a professional 
interest" in children's pop-ups, movables and novelty 
books. At least till next year's Frankfurt Book Fair. 


David Carter, continued from page 3 

done by me. In the very beginning when I had the idea 
to do this book, I called Jim Diaz and asked whether he 
wanted to work with me on this, because Jim and I had 
worked so closely when we were younger back at 
Intervisual -- 1981, 1982, 1983. We developed this pop- 
up lingo that we would use back and forth. Jim was the 
creative director and I was one of the paper engineers. 
We would look at a project and some things that had 
already been done and Jim would say "Why don't you 
try using that flippy flop mechanic, you know the one 
that goes this and that." We developed this terminology 
that no one else was using and tried to define what the 
very basic mechanics were. That's what Jim and I did 
together. We defined what was going to go into the 
book and Jim's company was responsible for doing the 
production on the book until we had the final product. 

K: So that's why 
he gets the 
dedication in 
Alplia Bugs for 
being your "Alpha 

D: That's right. 
O u r 

was mostly on the 
phone for Elements of Pop-up, but we also actually met. 
One time in the very beginning of the project Jim was 
in San Francisco and I went over there and spent two 
days at the hotel. We talked about the original concept 
and its very early stages. Then later Jim came up to 
Auburn and we worked together for three or four days 
together once the book was almost finished 

K: Who did the big demonstration pop-up inside of the 
cover of Elements of Pop-up? 

D: Jim did the pop-up inside of the cover. We yanked 
him in on that part of the project early. He did a couple 
of things and 1 would play around with them a little and 
send them back to him. The title page is Jim's. 

K: So you were also mailing pieces of the pop-ups to 
each other? 

D: Oh back and forth constantly. I should probably 
show you. 1 have this bag that almost takes up this 
entire drawer here, there is so much stuff. The book 
would go back and forth and back and forth. We'd make 
the various pieces changes and it would work or not 
work. I would give it to Jim and say let's think about 

this. What this is? Is this a basic structure or is it just 
a combination of basics? Let's put in a clicker 
mechanic because we show it in the book, so let's add 
it to this pop-up. Let's put these coils in, or whatever. 
Let's change the construction here. And we would 
refine. This would go back and forth until we finally 
narrowed it down to the basic 45 pieces that went into 
the book. Now, if I need to talk to someone over the 
phone, I say, for example, go to figure number 31.1 put 
the Elements of Pop-up by the side of my desk and I 
use it all the time. 

K: So this book that is a mock up of everything travels 
back and forth several times and, before that, pieces of 
paper, etc. . . . 

D: Exactly. 

K: There are people who would die for that original 

D: Well, there is an avid collector by the name of John 
Railing based in Chicago who even started to do pop- 
ups himself. We were talking about collections and I 
said I think the most collectable thing that anyone 
could get their hands on are the rough cut dummies. 

K: There was a need for 
a vocabulary. 

D: Yes. That's why I wanted 
to do it. 

K: Was Playful Pandas the 
only National Geographic 
book you did? 

D: Actually I did another book for them, a flat board 
book called Opposites. 

K: Playful Pandas has wonderful illustrations. 

D: Thanks. Actually 1 have a theory about that book. I 
think if I were the art director at National Geographic, 
1 wouldn't have hired me to do that book. 

K: Is that because the National Geographic books tend 
to be very realistic. 

D: Right. The style of artwork that I do with cut paper 
is more a simple sort that doesn't lend itself to being 
National Geographic-ish. I'm glad I did it, but every 
time I pick up that book I say 1 wouldn't have hired me 
to do this book. 


K: I love the book. The black and the white and the 
greens and the blues are so graphic. It is really 
wonderful, but I've had the thought that it is kind of 
unusual for a National Geographic book. 

D: A lot of it was that Jim Diaz was involved with 
National Geographic, doing the book, and he probably 
said I've got this illustrator friend. Let's get Dave to do 
it. It's a pretty book. I love the colors in it, but I am just 
not sure that it goes with the series. Very detailed. Nice 
paintings for the most part. 

K: Vic Duppa-Whyte. Did you work with him? 

D: Actually I have never worked with Vic Duppa- 
Whyte on a project. We just knew each other. 

when it does make it into a book it quite often doesn't 
work very well. So a lot of Vic's books that you see 
published don't work well. The pop-ups are just too 
complicated. You pull a tab and it doesn't work quite 
right. But his original work, his rough cuts, were the 
drop-your-jaw kind of stuff. WOW! Awe inspiring. 

K: Did you work with Ron van der Meer? 

D: Yes. During my first years at Intervisual, Ron was 
one of the star people coming in. When Ron van der 
Meer walked in, everybody was very excited and they 
couldn't wait to see what he was bringing. They all 
wanted to work on one of his projects because they 
were very interesting and unusual. Like his Pop-up 
Games Book. Have you seen that one? 

K: From Intervisual? 

K: Yes, I have it. 

D: He would come to Intervisual on a regular basis and 
I think we hooked up a couple of times at one of the 
ABA's in San Francisco. He had been in Columbia, flew 
to San Francisco and came to the ABA when I was 
there. We became buddies, became friends. Then on one 
of the trips while I was in London, I spent some time 
with him in his studio. He showed me all of his work 
and we talked a lot. That's when he gave me the little 
hopping kangaroo there (pointing to a paper kangaroo 
model that has a rubber band-loaded mechanic that 
makes it hop). Vic must have been short of paper 
because he made the model out of a Tony the Tiger 
Frosted Flakes cereal box. 

K: Made out of a cereal box? 

D: Yes. This is my favorite piece. He was another John 
Strejan-type paper engineer and I wish I would have 
had the chance to work with him. David Rosendale, 
who is another paper engineer, worked with Vic quite 
a bit, so he probably knows a lot more about it. But Vic 
would show me things off the shelf and the paper 
engineering was just incredible — the things he would 
make happen. He was working on The War of the 
Worlds, which has never been published, but he actually 
had the spaceship floating in the air. It had a couple of 
little tiny pieces supporting it, but it was floating in the 
air. It was just incredible! 

K: He, like Strejan, could make you say WOW! 

D: Absolutely! His work made me say WOW. His work 
sort of baffled me. I had to look al it hard to figure out 
how he made it work. But the problem with that type of 
paper engineering is that it is so complicated to 
manufacture. Very little of it makes it into books, and 

D: It's fun. You ought to see mine upstairs. It's 
demolished. Every piece is falling off of it. That's my 
first repair job when I retire and open my pop-up book 
hospital. And it was fun working on his magic book. 
They were just different. It was also fun having 
someone like Ron van der Meer around. You've never 
met anyone who is in a better mood all the time. 
Always laughing at everything, no matter what. He just 
laughs. He is really nice. 

K: He seems like the consummate businessman too. 

D: I think he has become that. But when we first met, 
when he first came to Intervisual, he wasn't like that at 
all. Well, he might have been, but that is not what I 
saw. I saw a truly fun loving ... In fact, this picture of 
Meggendorfer right here reminds me of Ron van der 
Meer (pointing to picture of Lothar Meggendorfer 
inside Genius of Meggendorfer). "I am here to be 

K: Does he wear funny shoes? 

D: Yes, he wears his red shoes. Of course, he has 
turned that into his logo. 

K: And he has a book called Funny Shoes that has the 
red shoes in it, three-dimensional of course. 

D: Oh is there? But you're right. Ron did the Sailing 
Ships book and that was one of the first books that was 
a nonfiction, educational adult-type book. And that is 
definitely the direction that he is going. Also, the Art 
Packs. When I look at those books, I see books that are 
mostly reference books, educational books. He uses 
pop-ups in the right place, but when you look at the 

paper engineering in those books it's quite simple. 
There's nothing overly complicated, but he's saying I'll 
use paper engineering and string and pulls and 
whatever it takes to illustrate this concept. He is 
approaching it as a bookmaker, as a book designer, 
which is different than a lot of people do it. My goal is 
to make a cool pop-up book, and Ron has done some of 
that, but his most recent work is to make a good book. 
Some of the Math Packs don't have any pop-ups at all, 
but they have movables. He is using the art of paper 
engineering to solve problems — which I like. I have 
more appreciation for that, for a book as a whole, than 
to see someone who has a book with one cool pop up in 
it for seemingly no reason. And the reason I say that is 
for years at Intervisual that was sort of the goal - to take 
anything that we could and make it a big, cool pop-up. 
Let's not think too much about why we're making a big, 
cool pop-up, just make it a cool pop-up right there and 
then we'll put some words over here and some picture 
around it. To me, I thought that was not the best way to 
design a book. You really need to think about 
everything, why it was there, what the whole picture 
was. Ron does that very well. 

K: And Iain Smyth? 

D: Iain Smyth is relatively a newcomer. But once again, 
what I like about Iain's work is he does what Ron van 
der Meer does. His mystery books, for instance. The 
concept of what it is that he is doing as a book is what 
comes first. Then he applies paper engineering as a 
solution to whatever problem to make it happen. Iain 
Smyth's mystery books are good solid books, just as 
books, and that's why I like his work. 

K: Did you ever work with him? 

D: I've never worked with him. I have met him a couple 
of times. Those British guys go to Bologna quite often. 
That's what's fun about going to the Bologna Book 
Fair, you have all the people there. So we go out, have 
dinner, carousing and laughing around. 

K: Well, you can't find your colleagues on just any 

D: So it is fun. The last time I was in London, I got 
together with Iain Smyth and David Pelham and we had 
a great night out. Pizza and laughing and carousing too. 
He is a nice guy. 

K: My Granddaughter Kalian's favorites of your books 
are Surprise Party and In A Dark, Dark Wood — wh ich 
was the first book she could ever read by herself. 

D: Is that right? Dark, Dark Wood? 

K: Yes. Which makes it special forever. 

D: Sure. I can tell you 
about that one. I 
mentioned Mark Chesire. 
He was the editor who 
bought my first two pop- 
up books. Well, Mark later 
became my agent and as 
my agent he would quite 
often make suggestions. 
Dark, Dark Wood was his 
idea. I thought it was a fun 
idea because that is one of 
those old tales that has 

been told over many, many different times. You can 
find In a Dark, Dark Wood in many different versions 
in the library. An old public domain piece. But when 
we first started thinking about it, we thought here is a 
book where we can really use a pop-up at the right time 
at the right place. It's a flat book and it builds and it 
builds and it builds. Then all of a sudden there is the 
end and it's a pop-up. I like it because that was a very 
interesting and unusual use of pop-up, where some 
other people would have tried to make every page pop- 
up. Let's let it stand out. 

K: I like the size of the book too, and what you did for 

D: That's really unusual illustration. That was the type 
of painting that I was doing in college and I just went 
back to it at that point because it seemed like the right 
thing. I probably have four or five different styles of art 
that I can use and I will use any given one based on 
what I think that project needs. So I painted that one. 

K: A few minutes ago you pulled out Naughty 
Nineties. You said it was one of your favorites. 

D: This is one of my favorite books. I just love it. I love 
the concept of it. It is an adult book that is a pop-up. I 
remember this book coming into Intervisual. The 
original came from a woman in Australia, I think. 
"Concept by l^eslie Jane Kaiser." 1 think that had to be 
her. The original comp that she sent in was nothing 
like this book. They took it and changed it. The 
illustrations are based on Gibson's drawings — The 
Gibson Girl. They were done by an illustrator who was 
working at Intervisual at the time, BorjeSvensson, who 
is probably one of the best illustrators I have met in my 
life. He could just do anything. He did the paintings for 
Sailing Ships and these great Gibson Girl drawings. 1 


love the feet that they are black and white. It is just fun. 
Conceptually they really work very well. 

K: Who engineered? 

D: I believe Keith Moseley did it. Keith Moseley and 
John Strejan. Here is a case where the paper 
engineering is not necessarily fantastic, it's just simple 
pull tabs. But the application of it with the art is the 
right style. And the text is good. I love the way this 
book came together. I love the fact that it's an adult 

K: Now there are really quite a few good adult pop-ups. 
Hugh Johnson's Wine Book, and 1 like the Golf Book 
that came out in the last few years. 

D: There are quite a few now. But I think that this was 
one of the first ones, if not the first one. This book sold 
fairly well. They printed 1 50,000 copies and sold them 
right away. They also did a mini version. 

K: We talked a little about the book / Wonder What 's 
Under There. 

D: That was a pretty 
unusual theme. What's 
Under There was 
brought to me by Linda 
Zuckerman as a full 
manuscript. Deborah 
Lattimore is the 
illustrator and the 
author. They just asked 
me to do the paper 
engineering, which is 
simple because there 
wasn't a lot that could be done with it. My only input 
was to make sure that what this pop-up book is about is 
looking at people's underwear. So it is a book of lift-ups. 
We just look under their clothes. That was my only 

K: One of the most clever ones is having to lift from the 
neck. I would have never thought about that. 

D: That was a struggle -- trying to find good places to 
lift these up so you can actually see what it was that she 
was talking, the underwear. 

K: I noticed on the back of Elements that you've sold 
over four million books. How does that feel? 




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D: Well that feels good, but I'm not sure how accurate 
that number is. It could be correct if they count all the 
foreign sales for all the books. According to my 
calculations it's not quite right, but it's not that far off. 
There are two and a half million bug books, which I 
think is much more accurate. 1 think what publishers 
do sometime is say "250,000 copies sold." What that 
really means is 250,000 copies are in print and shipped 
out to bookstores. They aren't counting what they call 
returns so they aren't counting the number of copies 
actuall sold. Ron van der Meer said he has 17 million 
copies sold, but that means that he has sold 17 million 
copies of his books to publishers. That could also mean 
that there are 16 million copies sitting in warehouses. 
And I know that Intervisual does that. They are 
honestly counting how many copies they have sold 
because they have made the sale to the publisher. So 
when they do a print run of 1 50,000, they sell 1 50,000 
to the publisher. It's a substantial number of books and 
it sounds great 

K: You have the domain name "" Do 
you have plans for it? 

D: 1 do have plans for it. The person who is building 
the web site is another friend of mine from college. 
Two years ago when I decided to do this I didn't know 
anybody who was doing web sites, so I hired her. I've 
just recently been talking to her and she promises me 
that it is almost ready to post. 

K: I am wondering what she is thinking about for the 
web site. 

D: There's a lot to it. We've spent a lot of time 
designing it. You have a basic home page when you 
open it up and then various places to go. I've done a lot 
of bug artwork for it. We have the basic windows set up 
that has all these bug characters and they are doing 
animations for each area and the pop-up menus. When 
you click on it, a little thing comes up with music and 
animations. That's the basic site. So what you will 
have is a welcome, there is a picture of me and Noelle, 
and you click here and it will take you to the 
biographies with bug eyes. These are like related links. 
There is a list of pop-up books that has a photo of every 
book cover. And there are books for sale. Another link 
takes you to the American Booksellers' site so you can 
find your local bookstore and at related links you can 
find a link to or Barnes and Noble or 
Borders. The Movable Book Society is in there and I 
will definitely put you in there. That is what the related 
links are all about. If someone comes to this page just 






because they are interested in books or my books or 
children's books. I can send them to all the other places 
that are related. We will also have the calendar of 
events. This will be an ongoing calendar of what I am 
doing, whether I am at a book signing tour or at a 
school. There will be the list of our books, the 
booksellers, related links and emails, biography and 
then changing contents. It's a work in progress, if 1 
want to, 1 can post a letter or a fun email or drawings 
from a child. 

K: Do you get those? 

D: I get emails and letters. I have a whole file over here 
of stuff that kids give me when I go to schools. 1 do a lot 
of school visits for fun. They draw bugs and I have 
gotten some really good things. So that is what this will 

be right now. I don't 
know what it will evolve 
into, but supposedly 
they are working on the 

Notes: In answer to an 

earlier question, John 

Strejan illustrated / 

Love to Eat Bugs. 

David's website 


m> is fully functional. 

And what can you say about a guy who states on his 

website, "I love my work and family" except a big thank 

you, Dave for telling us about your work. 

Books by David Carter 

The following list includes all of the titles written or 
illustrated or both by David Carter. This does not 
include any of the l.C.I. books where he is listed as 
paper engineer. 

1 . Skyscraper going up (out 
of print) - Harper Collins 

2. How to be an Ocean 
Scientist (out of print) - 
Harper Collins (flat) 

3. What's in the Cave? - 
Henry Holt 

4. What's at the Beach 7 - 
Henry Holt 

5. What's in the Jungle? - 
Henry Holt 

6. What's in the 
Prehistoric Forest? - 
Henry Holt 

7. What's in the Deep 
Blue Sea? - Henry Holt 

9. How Many Bugs in a 
Box? - Simon & 

1 0. More Bugs in 
Boxes - Simon & 

1 1 . Jingle Bugs - Simon & Schuster 

12. Opposites (Baby Bugs) - Simon & Schuster 

13. Counting (Baby Bugs) - Simon & Schuster 

14. In and Out (Baby Bugs) - Simon & Schuster 

15. Colors (Baby Bugs) - Simon & Schuster 

16. Alpha Bugs - Simon & Schuster 

1 7. Love Bugs - Simon & Schuster 

18. Feely Bugs - Simon & Schuster 

19. Bugs that go Bump in the Night - Simon & 

20. Numbers (sticker book) - Simon & Schuster 

2 1 . Shapes and Colors (sticker book) - Simon & 

22. Noodles - Harper Collins 

23. I'm Shy - Simon & Schuster 

24. Say's Who? - Simon & Schuster 

25. In a Dark, Dark Wood- Simon & Schuster 

26. Snack Attack - Simon & Schuster 

27. What's in My Pocket? - Putnam 

28. Surprise Party - Grosset & Dunlap 

29. I'm a Little Mouse - Piggy Toes Press (IBI). 
Originally published by Henry Holt 

30. Peek-A- Boo Little Mouse - Piggy Toes Press 
(IBI) Originally published by Henry Holt 

3 1 . Merry Christmas Little Mouse - Henry Holt 

32. If Pigs Could Fly - Price Stern Sloan 

33. Playful Pandas - National Geographic Society 

34. Opposites - National Geographic Society 

36. Over in the Meadow - Scholastic (flat) 

37. Cars, Cars, Cars - Scholastic (flat) 

38. There's a Square - Scholastic (flat) 

39. Bugs on the Go (board book) - Simon & Schuster 

40. Bugs at Play (board book) - Simon & Schuster 

4 1 . Bugs at Work (board books) - Simon & Schuster 

42. Busy Bugs, Lazy Bugs (board books) - Simon & 

43. If you're Happy and you Know it - Scholastic 

44. Bugs in Space - Simon & Schuster 

45. Curious Critters - Simon & Schuster 

46. Wliat's Under There? Browndeer Press, HBJ 

47. Bed Bugs - Simon & Schuster 


48. Glitter Bugs - Simon & Schuster 

49. Stinky Bugs - Simon & Schuster 

50. The Elements of Pop-up - Simon & Schuster 

5 1 . Giggle Bugs - Simon & Schuster 

5 1 . The 12 Bugs of Christmas - Simon & Schuster 

52. The Nutcracker - Simon & Schuster 

53. Easter Bugs - Simon & Schuster 

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European Branch, continued from page 4 

After a short lunch break in the fine historical inner 
town where we gathered, the afternoon session started 
with a lecture by Mr. Aernout Borms, a collector of and 
writer on movable books. He prepared a talk about 
movable plates not published in books. He used slides 
and included all kinds of items from his collection to 
illustrate his words. We saw not only movable trivia 
from the Disney factories and the tourist industry, but 
also rare folded prints from the 18th century, movable 
1 9" 1 century picture postcards, calendars, advertisements 
with movable or pop-up parts, records and CD's, soft 
porno and on the other hand the use of movable plates 
for educational purposes. Mr. Borms distributed an 
English-language handout describing all of the items he 

The next contribution came from Kees Moerbeek 
and Carla Dijs, the paper engineering couple so 
successful worldwide who are hardly known in their 
own country because only a few of their books have 
Dutch editions. We had asked them, for that reason, not 
only to tell about their current projects, but to show, in 
particular, a survey of all the wonderful books published 
abroad in the over the 15 years they have been active. 
The sympathetic Kees Moerbeek was the spokesman 
while his wife Carla Dijs showed the books and also 
some uncut printing sheets to illustrate the production 
process and the limitations in the amount of paper used 
for their books. During the tea break that followed both 
signed books and sold to the collectors all of the books 
that had filled their suitcases. 

Because of the enthusiasm of both the speakers and 
the audience, there was not adequate time for the whole 

program as planned. So we had to shorten the rest and 
decided to leave out the talk about the development of 
the carousel books prepared by Theo Gielen, that was 
illustrated by the exhibited books. 

What came next proved to be another highlight of 
the day. We had succeeded in getting Professor W.A. 
Wagenaar, a collector, but, above all, the owner of the 
only magic lantern theater in the country. He 
performed Lothar Meggendorfer's two-part Bewegliche 
Schattenbilder. He himself is the happy owner of Part 

I and the organizers of the day succeeded in getting 
special permission to use the only known copy of Part 

II in the country, a treasured copy held by the Royal 
Library in The Hague. A special courier brought the 
copy - and took it back again once the performance 
ended. Professor Wagenaar showed the 16 movable 
plates as a professional shadow theater performance 
while his wife read the original German text of the 
books. Surely a unique and highly acclaimed 
experience by the audience that realized this was a 
once-in-a-lifetime experience to see these rare and 
precious books together and performed in the way 
Meggendorfer imagined them when he designed them 
in 1886. 

A short evaluation of our initiative and the actual 
happenings of the day brought loud voices of 
acclamation. We agreed to gather every second year, in 
the spring of the year when the official MBS 
conference is held in the autumn. Since the German 
visitors offered to organize the next meeting, such will 
be held in Germany, spring 2002. So, Italian, French, 
Spanish, Belgian and British members be sure to plan 
your visit at that time. You are invited! As a relaxing 
end to the successful day, a 30-m inute video was shown 
of a wonderful television program made by the German 
producer (and collector) Ivan Steiger of Munich. It was 
an ingenious presentation with lots of historic movable 
books shown in motion, with hardly any spoken text 
but accompanied by fantastical, matching, minimal 
music. The program, already shown twice on German 
television on Christmas eve, brought once more many 
"oohs!" and "ahs!" Before going home we had a drink 
in the local Irish pub around the corner - to stay in the 
Anglo Saxon mood that marked the day, and to 
exchange more information, stories, cards, and 

Paper engineering workshop by Barbara Valenta, 
August 23. 

The daughter of the New York paper engineer Mrs. 
Barbara Valenta lives in Holland. Since we knew 
Barbara would visit her in 2000, we had sent her an 


invitation to plan her stay here to correspond with our 
April meeting. Mrs. Valenta felt honored to be invited 
but regretted not being unable to come in the spring. 
Spontaneously she offered a free paper engineering 
workshop to her daughter's new countrymen when she 
visited Amsterdam in August. We stayed in contact and 
agreed to do the workshop on August 23. 

Some ten people brought the required materials and 
equipment and gathered on a sunny day in a gallery we 
werepermittedtouseforthisactivity. Mrs. Valenta was 
well prepared. She brought not only her friendly 
husband Milt, but also a lot of extra paper and a great 
colorful range of ready-made examples of the basic 
principles of paper engineering she uses for her courses 
in New York's schools. And since she took over some 
classes from Robert Sabuda at Pratt Institute, too busy 
with his own books to teach classes anymore, she also 
brought the instructional originals of some more 
complex techniques that Mr. Sabuda prepared for his 

After the salutation and a short introduction she told 
about her book Pop-O-Mania and how by chance she 
came in contact with its publisher on her daily ferry 
boat trip from Staten Island to New York City. As a 
good help for further steps in the engineering of paper 
she especially recommended Duncan Birmingham's 
Pop-Up! A Manual. But for now we were invited to start 
working with paper and scissors. 

Barbara showed us how to cut the paper to create 
paper steps and asked us to make them ourselves; she 
continued with the multiplication of steps and showed 
other simple techniques that, nevertheless, gave 
surprising results within a short period of time, even to 
the most clumsy participants. We did V-folds, both the 
ones cut in the paper and the ones adding extra paper 
and we learned about 
extensions and about how 
repeating a same technique 
gives nice new effects. Before 
we even had the time to think 
of ourselves as clumsy and 
not capable of this noble 
work, we had lots of proof of 
our own paper artworks on 
the table before us. Everybody 
appeared to be a paper 
engineer in no time! Since 
the group was rather 
heterogeneous - people with two left hands on one side, 
and almost professional ones who studied arts and crafts 
on the other - the differences in completed work was 
obvious. But everyone adm ired the great results and the 

cleverest pupils showed off their work: intricate pop-up 
scenes of a castle with knights riding horses (or was it 
St. George and the Dragon?) and beautiful paper birds 
with movable mouths and wings. . . Even Mrs. Valenta 
herself wondered about her instant success. The less 
experienced pupils were not discouraged by all this and 
tried again and again to cut pop-up steps that did not 
peak out when the card was closed. The workshop 
planned to run from two until four in the afternoon ran 
to half past five, so don't ask if the workshop was 
successful. And, surely, part of the success was a result 
of the generous catering by our hostess, Mrs. Wuts. 

Since it was a nice, sunny day and everybody had 
enjoyed the experience we decided to have a drink on 
the local pavement. It grew into a chatty social 
gathering - ending with a nice supper before we broke 
up. Barbara, again, thank you! 

A lecture at Leyden University, November 2. 

As a final manifestation of the festivities 
commemorating their 425th anniversary, the staff of 
Leyden University planned a series of lectures by their 
own scientists and by people known from Dutch public 
life. But lectures with a twist: everybody had to talk 
about a theme that had nothing to do with his usual 
scientific business. Hence on November 2 the Rector of 
the University, the aforementioned Professor W.A. 
Wagenaar in "normal" life a professor of psychology 
with an international reputation because of his 
knowledge of the working of the human memory, 
lectured about movable books! 

In the Great Hall, the same place where the 
university was founded in 1 575 (historical also since it 
is the place where our Kings and Queens graduated) 
Professor Wagenaar had gathered the most rare and 
valuable treasures from the university libraries - 
enclosing movables, volvelles or pop-ups. Sometimes 
the books were so special that white-gloved head 
librarians from the libraries concerned brought in the 
books and took them back again once the lecture and 
demonstration of the item was ended. By an ingenious 
use of television cameras, the cautious demonstrations 
of the movable and erecting parts were shown on a 
large screen above the speaker's reading desk. And 
within this setting Professor Wagenaar discussed and 
showed the early history of the use of movables in 
cabalistical, astrological, mathematical, astronomical, 
fortune-telling and other learned tomes from long, long 
ago. And we, the audience, were instructed about the 
character and the position of science in those early 
times and saw how this was reflected in the old books 
with their movable parts mostly used for instructional 


purposes. When possible the older books were paired 
with their modern pop-up counterparts. 

To start with there was an explication of the earliest 
volvelles in the works of the Spanish mystician Ramon 
Llull, shown in a great 1 7 th century edition of his works 
in ten parts, with the movable plates still uncut (it really 
proved to be do-it-yourself from those days!). Wagenaar 
continued with an educated discourse on 16 th century 
knowledge of astronomy, still mixed at that time with 
astrology. He explained the workings of the gem of 
early movable books: Apianus' Cosmographia, here 
present in the glorious 1 540 edition with its large folio, 
handcolored volvelles, with seven superimposed discs. 
The Un i versity owns the copy that once belonged to the 
British King Henry VIII (the one of the murdered 
wives) with a special binding from the time showing his 
initials in silver: "HR" (Henricus Rex). Next were 
shown such famous books as Basantin's Astronomical 
Discours (1557); Waghenaer's Spiegel der Seefahrt 
(1589); a copy of the most valuable Blaeu-Atlas De 
Groote Zeespiegel (1655) with a movable skyline on 
one of the sea charts to make it possible for the seafarer 
to identify the place of the Polar Star at any place of the 
globe and to identify the actual place on the world 
where he was. Also shown were Zumbach von 
Koesfeld's Cycius Lunuris Eclipticus (1708); 
Perspective Made Easy (1755), an instructional book 
that uses strings and flaps standing up the pages; and 
from the anatomical books such treasures as Vesalius' 
Tabulae Sex (1538) and Remmelin's Catoptrum 
Microcosmicum (1613). From the modern equivalents 
he showed books such as Cowper and Pelham's The 
Universe and Miller and Pelham's The Human Body, as 
well as some of the books with superimposed plates 
used for similar educational puprposes around 1920: 
the extra tall The Horse at Half its Size and a rare 
French title, Notre 75 (1915) showing literally all the 
ins and outs of the75 mm. gun of this name, used in the 
First World War. 

After a short excursion to the movable books "just 
for the amusement of the children," exemplified with 
some great examples from the last decades of the 1 9th 
century (Meggendorfer, Nister, Dean), the speaker 
returned to Ramon Llull. He projected pictures of the 
Llull statue in Palma de Mallorca, Llull's birthplace, 
and ended with a movable plate picturing Llull as a 
monk with a movable arm and a cowl that moves over 
his head, selling nowadays as a tourist souvenir, and 
designed to be used as ... a hygrometer! 

In the reception rooms outside the Great Hall there 
was set up for the occasion a mini exhibition of other 
historical movable books and the best of their modern 
successors. All together this made it a memorable 

evening that, unfortunately, was attended by many of 
the University leaders, but due to miscommunication 
by the organization, only by few people interested in 
movable books. 

A "spooky" invitation from Kees Mocrbeck and 
Carla Dijs, November 18. 

Since Kees and Carla had 
so enjoyed the contact with 
the collectors of pop-ups in 
April, they invited them to 
their home in the small 
village of Usquert in the far 
north of the Netherlands for a 
presentation of Kees' new 
books The Spooky Scrapbook, 
The First Christmas and the 
three "Roly Poly Books." 
They also offered to tell us about their visit to the New 
York conference of the Movable Book Society, and to 
show "on location" how their pop-up books, especially 
their spread for Brooklyn Pops Up, came into being. As 
an extra they planned a "spooky buffet" for their 
guests. Although they anticipated some eight or ten 
people would undertake the long ride, no less than 30 
people from the Netherlands and Germany accepted 
their invitation. And they all had a great day! 

We were warmly welcomed by the host and hostess 
at their premises, a former poor men's home for old 
people but now rebuilt into a spacious residence for the 
family and studios for the artists. There was coffee and 
cake served in their living room with the possibility to 
admire some great sculptures and ceramics done by 
Carla, to see pictures of the New York conference, and, 
in the dining room, to wonder about the complete pop- 
up works of both of them published in countless 
languages all over the world, completed by an exquisite 
collection of modern pop-up books done by their fellow 
paper engineers. And, of course, there were salutations 
and small talk once again as collectors arrived. 

A substantial in-house walk brought us to their 
studios where Kees told about their contribution to the 
MBS conference in September and presented his new 
titles. With the use of slides, first sketches, dummies, 
computer trials and prints, and old books and pictures 
from which he "borrowed" illustrations, he showed the 
history of the spread for the Brooklyn book and how 
Tfie Spooky Scrapbook grew from early doodles and 
"memory lists" to a published book. Meanwhile he 
pointed out various details that readers might easily 
overlook. For example, the pictures of Kees and Carla, 
backed by the large, Venetian blinds on the windows 


of the studio, are mirrored in the glass of the egg cream 
on their Brooklyn spread (be sure to look once more at 
your copy of the book!). The old-fashioned seat that he 
copied from an old book on furniture is integrated in 
one of the spreads of The Spooky Scrapbook. And he 
spoke with visible pleasure about the private gimmick 
of using the faces of some former brothers-in-law for the 
monster leporello in the coffin at the end of the book. 
He had to make the paper sculpture of the mouse in the 
book less realistic since several of the (mostly female) 
publishers were frightened and screamed when seeing 
the first version of it... (Kees' words!). It was cute to 
see how he had engineered a small version of the "box" 
of The Spooky Scrapbook to send for production fitting 
within the measurements of the discs containing the 
artwork of the book and the instructions to the 
printers/assemblers in Colombia. Just think of how all 
the attendees felt as they sat on the edges of their chairs 
getting the opportunity to get such a close look behind 
the scenes. 

After a tea break, the catering of the many guests 
was expertly done by their two daughters, Anna and 
Liza, the program continued with a talk by Kees on all 
their unpublished works, sometimes assisted by Carla 
since most of their books are developed in close 
cooperation. They showed lots of dummies that were 
never published and also explained the reasons why. 
This part of the day soon grew into a rather hilarious 
happening, with anecdotes about specific packagers 
(e.g. Wally Hunt doesn't like monkeys, so a beautiful 
book with pop-up monkeys was refused by him), about 
dummies with too many glue-points, and ingeniously 
constructed round or octagonal forms that are too 
expensive to produce. There were also books that came 
at the wrong time (a glittery, hexagonal boxed pop-up 
The Twelve Days of Christmas coincided with the 
publication of Robert Sabuda's version of the song), or 
a book that was thought hostile to women (and Kees 
agreed it was). We also saw a great dummy showing the 
story of a man who lives as a mechanic in a tower, 
between the wheels of an enormous clockwork; as a 
consequence, he never knows the time himself. A 
wonderful idea but after three spreads were engineered 
the makers didn't know how to continue the story and 
the dummy stayed unfinished. Then there was the tall 
paper "picnic sheet," folding out over three square feet 
and the couple's first trial in paper engineering in the 
early 1980s when finishing their education as artists. It 
was never published because the packagers thought the 
ingredients of the picnic, and hence the gimmicks used 
to parody them, too specifically Dutch or too bizarre. 

A pity, for we think that a big breathless carp, served 
as snapping at air and whose mouth can be moved in 
correspondence by putting your hand from below in the 
fish (!), just too surrealistic. There was so much more 
to enjoy! During the talk the artists' studio looked like 
a photo studio since every opening of another dummy, 
or even a following spread, caused a storm of clicks 
and flashes of the guests' cameras. It was very 
informative to see that a stock of unpublished dummies 
is not wasted, but, on the contrary, becomes working 
capital for the development of new book. Various 
techniques, ideas, stories, and novelties emerge in later 
productions that better fit the market. We now finally 
understand why it is so extremely hard for a collector 
to ever purchase an unpublished dummy from a paper 

As a "Grand Finale" we were taken to another part 
of the residence where the daughters had installed the 
"spooky buffet." Lucky for us on ly the ambience proved 
to be spooky: a half-dark, candle-lit room, with creepy 
rubber creatures hanging from the ceiling, and 
enlarged, framed lugubrious pictures from The Spooky 
Scrapbook on the walls. The three-dimensional, 
enlarged paper bugs found in the same book, 
unwantedly popped up in unexpected places, as did 
some copies of Carla's, let us say, "exotic" ceramics 
used as additional ornaments. The buffet itself was 
super abundant, copious and delicious. Many of the 
dishes on which the delicacies were served were ones 
we recognized to be the inherited crockery that was the 
model for the dishes of the fifth spread of the 
Scrapbook. We magically stepped in the book as it was 
presented that day. 

With a bag full of signed copies of their new books, 
a head full of impressions and information, but above 
all with warm feelings for Mr. and Mrs. Moerbeek we 
came home after midnight. We had a great day, invited 
by great people, warmly remembered by the people 
who attended as we have heard on several occasions 
since. So, readers, if any paper engineer lives in your 
region, try to get such a look into the pop-up kitchen of 
the makers yourself. But promise to invite us! 

So goes our year 2000. We will see what this year 
will bring and we are already looking forward to the 
next big meeting in Germany in the spring of 2002. 
The European collectors known to us will be invited; 
others who want to participate are asked to contact us. 


Tunnel Book Workshop 

In existence for several hundred years, tunnel books 
have been used to create three-dimensional scientific 
diagrams and children's books. Known as "peepshows," 
they consist of designed parallel panels, with cutout areas, 
assembled to create a theater-like scene. On Saturday, May 
5 and Sunday, May 6, Rand Huebsch will present a two-day 
workshop at the Newark Museum in Newark, New Jersey 
on tunnel book construction. Students will have the option 
to experiment with different imagery, such as photos, 
drawings, and prints. The sessions are for students of all 
levels. For more information see the museum arts workshop 
schedule at: <>. 

New Publications 
The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

Alien Opposites. By Matthew Van Fleet. [Pull tabs] April. 
Hyperion. 8 x 8. 16 pages. $13.99. 0-7868-0655-9. 

All aboard the Ark: A Giant Pop-up Book. By Dudley 
Moseley. Concordia Publishing House. 13 x 12. $9.99. 0- 

Be my Valentine. Raggedy Ann & Andy. Little Simon. 8 x 
8. 0-6898-3920-0. $9.99. 

The Camel and the Needle. Pop-up Parables. By Jan 
Godfrey. March. Abindon Press. 0-6870-5010-3. $5.00. 
Also: The Hidden Treasure. 0-6870-4950-4. 
The Lost Sheep. 0-6870-4930-x. 
The Two Houses. 0-6870-5000-6. 

/ can fly! By Deborah 
Norville. Golden Books. 
March. 914 x 9'/2. 12 pages. 

The mouse who ate 
bananas. By Keith 
Faulkner. April. Orchard 
Books. 10 x 10. 16 pages. 

Richard Scarry 's All Around Busytown! Little Simon. 
VA x 10%. 5 spreads. $14.95. 0-689-82573-0. 

Slide V Seek Colors. 
[Sliding panels] By Chuck 
Murphy. Little Simon. 5% x 
5 3 / 4 . 5 spreads. $5.99. 0-689- 

Also: Slide 'n ' Seek 
Counting. 0-689-8401 1-x. 

Under the Bed. By Rebecca Sams. Little Simon. TA x 9. 
$9.99. 28 pages. 0-6898-4009-8. 

Vroom! Vroom! By Steve 
Augarde. April. Little, 
Brown. $13.95. 10 pages. 

Catalogs Received 

Aleph-Bet Books. Catalogue 65. 218 Waters Edge, Valley 
Cottage, NY 10989. Phone: 914-268-7410. Fax: 914-268- 
5942. Email: 

Ampersand Books. Winter Catalog 2000/1. Michael 
Dawson. Ludford Mill. Ludlow, Shropshire Sy8 1PP UK. 
Phone: 01584 877813. Fax: 01584 877519. Email: 

Thomas and Mary Jo Barron. "Childrens & Illustrated 
Books." Catalogue Number Nine. 120 Lismore Ave., 
Glenside, PA 19038. Phone: 215-572-6293. 

Books of the Ages. Catalogue 25. Gary J. Overmann. 
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, Ohio 
45103. Phone:513-732-3456. 

Cattermole 20 lh Century Children's Books. Catalog 34. 
9880 Fairmount Road, Newbury, Ohio 44065. 440-338- 
3253. Email: 

Jo Ann Reisler, Ltd. Catalogue 53. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057.